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class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Beginnings"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.1</span> <span>Beginnings</span> </div> </a> <ul id="toc-Beginnings-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Pierre_Schaeffer_and_Studio_d'Essai" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Pierre_Schaeffer_and_Studio_d'Essai"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.2</span> <span>Pierre Schaeffer and Studio d'Essai</span> </div> </a> <ul id="toc-Pierre_Schaeffer_and_Studio_d'Essai-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Halim_El-Dabh" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Halim_El-Dabh"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.3</span> <span>Halim El-Dabh</span> </div> </a> <ul id="toc-Halim_El-Dabh-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Club_d'Essai_and_Cinq_études_de_bruits" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Club_d'Essai_and_Cinq_études_de_bruits"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.4</span> <span>Club d'Essai and <i>Cinq études de bruits</i></span> </div> </a> <ul id="toc-Club_d'Essai_and_Cinq_études_de_bruits-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Musique_concrète" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Musique_concrète"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.5</span> <span>Musique concrète</span> </div> </a> <ul id="toc-Musique_concrète-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Groupe_de_Recherche_de_Musique_Concrète" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Groupe_de_Recherche_de_Musique_Concrète"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.6</span> <span>Groupe de Recherche de Musique Concrète</span> </div> </a> <ul id="toc-Groupe_de_Recherche_de_Musique_Concrète-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Groupe_de_Recherches_Musicales" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Groupe_de_Recherches_Musicales"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.7</span> <span>Groupe de Recherches Musicales</span> </div> </a> <ul id="toc-Groupe_de_Recherches_Musicales-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Traité_des_objets_musicaux" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Traité_des_objets_musicaux"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.8</span> <span>Traité des objets musicaux</span> </div> </a> <ul id="toc-Traité_des_objets_musicaux-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Technology" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Technology"> <div class="vector-toc-text"> <span class="vector-toc-numb">2</span> <span>Technology</span> </div> </a> <button aria-controls="toc-Technology-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Technology subsection</span> </button> <ul id="toc-Technology-sublist" class="vector-toc-list"> <li id="toc-Initial_tools_of_musique_concrète" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Initial_tools_of_musique_concrète"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.1</span> <span>Initial tools of musique concrète</span> </div> </a> <ul id="toc-Initial_tools_of_musique_concrète-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Magnetic_tape" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Magnetic_tape"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.2</span> <span>Magnetic tape</span> </div> </a> <ul id="toc-Magnetic_tape-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Development_of_novel_devices" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Development_of_novel_devices"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.3</span> <span>Development of novel devices</span> </div> </a> <ul id="toc-Development_of_novel_devices-sublist" class="vector-toc-list"> <li id="toc-Phonogène" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Phonogène"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.3.1</span> <span><i>Phonogène</i></span> </div> </a> <ul id="toc-Phonogène-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Three-head_tape_recorder" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Three-head_tape_recorder"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.3.2</span> <span>Three-head tape recorder</span> </div> </a> <ul id="toc-Three-head_tape_recorder-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Morphophone" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Morphophone"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.3.3</span> <span>Morphophone</span> </div> </a> <ul id="toc-Morphophone-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Early_sound_spatialisation_system" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Early_sound_spatialisation_system"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.3.4</span> <span>Early sound spatialisation system</span> </div> </a> <ul id="toc-Early_sound_spatialisation_system-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Coupigny_synthesiser_and_Studio_54_mixing_desk" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Coupigny_synthesiser_and_Studio_54_mixing_desk"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.4</span> <span>Coupigny synthesiser and Studio 54 mixing desk</span> </div> </a> <ul id="toc-Coupigny_synthesiser_and_Studio_54_mixing_desk-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Acousmonium" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Acousmonium"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.5</span> <span>Acousmonium</span> </div> </a> <ul id="toc-Acousmonium-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-In_popular_music" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#In_popular_music"> <div class="vector-toc-text"> <span class="vector-toc-numb">3</span> <span>In popular music</span> </div> </a> <button aria-controls="toc-In_popular_music-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle In popular music subsection</span> </button> <ul id="toc-In_popular_music-sublist" class="vector-toc-list"> <li id="toc-1960s" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#1960s"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.1</span> <span>1960s</span> </div> </a> <ul id="toc-1960s-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-1970s" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#1970s"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.2</span> <span>1970s</span> </div> </a> <ul id="toc-1970s-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-1980s_and_beyond" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#1980s_and_beyond"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.3</span> <span>1980s and beyond</span> </div> </a> <ul id="toc-1980s_and_beyond-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-See_also" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#See_also"> <div class="vector-toc-text"> <span class="vector-toc-numb">4</span> <span>See also</span> </div> </a> <ul id="toc-See_also-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Notes" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Notes"> <div class="vector-toc-text"> <span class="vector-toc-numb">5</span> <span>Notes</span> </div> </a> <ul id="toc-Notes-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> <span class="vector-toc-numb">6</span> <span>References</span> </div> </a> <button aria-controls="toc-References-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle References subsection</span> </button> <ul id="toc-References-sublist" class="vector-toc-list"> <li id="toc-Sources" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Sources"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.1</span> <span>Sources</span> </div> </a> <ul id="toc-Sources-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Further_reading" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Further_reading"> <div class="vector-toc-text"> <span class="vector-toc-numb">7</span> <span>Further reading</span> </div> </a> <ul id="toc-Further_reading-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> <span class="vector-toc-numb">8</span> <span>External links</span> </div> </a> <ul id="toc-External_links-sublist" class="vector-toc-list"> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" class="vector-toc-landmark"> <div id="vector-page-titlebar-toc" class="vector-dropdown vector-page-titlebar-toc vector-button-flush-left" > <input type="checkbox" id="vector-page-titlebar-toc-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-vector-page-titlebar-toc" class="vector-dropdown-checkbox " aria-label="Toggle the table of contents" > <label id="vector-page-titlebar-toc-label" for="vector-page-titlebar-toc-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only " aria-hidden="true" ><span class="vector-icon mw-ui-icon-listBullet mw-ui-icon-wikimedia-listBullet"></span> <span class="vector-dropdown-label-text">Toggle the table of contents</span> </label> <div class="vector-dropdown-content"> <div id="vector-page-titlebar-toc-unpinned-container" class="vector-unpinned-container"> </div> </div> </div> </nav> <h1 id="firstHeading" class="firstHeading mw-first-heading"><span class="mw-page-title-main">Musique concrète</span></h1> <div id="p-lang-btn" class="vector-dropdown mw-portlet mw-portlet-lang" > <input type="checkbox" id="p-lang-btn-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-p-lang-btn" class="vector-dropdown-checkbox mw-interlanguage-selector" aria-label="Go to an article in another language. Available in 34 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-34" aria-hidden="true" ><span class="vector-icon mw-ui-icon-language-progressive mw-ui-icon-wikimedia-language-progressive"></span> <span class="vector-dropdown-label-text">34 languages</span> </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-ar mw-list-item"><a href="https://ar.wikipedia.org/wiki/%D9%85%D9%88%D8%B3%D9%8A%D9%82%D9%89_%D9%85%D9%84%D9%85%D9%88%D8%B3%D8%A9" title="موسيقى ملموسة – Arabic" lang="ar" hreflang="ar" data-title="موسيقى ملموسة" data-language-autonym="العربية" data-language-local-name="Arabic" class="interlanguage-link-target"><span>العربية</span></a></li><li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/M%C3%BAsica_concreta" title="Música concreta – Catalan" lang="ca" hreflang="ca" data-title="Música concreta" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target"><span>Català</span></a></li><li class="interlanguage-link interwiki-cs mw-list-item"><a href="https://cs.wikipedia.org/wiki/Musique_concr%C3%A8te" title="Musique concrète – Czech" lang="cs" hreflang="cs" data-title="Musique concrète" data-language-autonym="Čeština" data-language-local-name="Czech" class="interlanguage-link-target"><span>Čeština</span></a></li><li class="interlanguage-link interwiki-cy mw-list-item"><a href="https://cy.wikipedia.org/wiki/Musique_concr%C3%A8te" title="Musique concrète – Welsh" lang="cy" hreflang="cy" data-title="Musique concrète" data-language-autonym="Cymraeg" data-language-local-name="Welsh" class="interlanguage-link-target"><span>Cymraeg</span></a></li><li class="interlanguage-link interwiki-da mw-list-item"><a href="https://da.wikipedia.org/wiki/Konkret_musik" title="Konkret musik – Danish" lang="da" hreflang="da" data-title="Konkret musik" data-language-autonym="Dansk" data-language-local-name="Danish" class="interlanguage-link-target"><span>Dansk</span></a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Musique_concr%C3%A8te" title="Musique concrète – German" lang="de" hreflang="de" data-title="Musique concrète" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target"><span>Deutsch</span></a></li><li class="interlanguage-link interwiki-et mw-list-item"><a href="https://et.wikipedia.org/wiki/Konkreetne_muusika" title="Konkreetne muusika – Estonian" lang="et" hreflang="et" data-title="Konkreetne muusika" data-language-autonym="Eesti" data-language-local-name="Estonian" class="interlanguage-link-target"><span>Eesti</span></a></li><li class="interlanguage-link interwiki-el mw-list-item"><a href="https://el.wikipedia.org/wiki/%CE%A3%CF%85%CE%B3%CE%BA%CE%B5%CE%BA%CF%81%CE%B9%CE%BC%CE%AD%CE%BD%CE%B7_%CE%BC%CE%BF%CF%85%CF%83%CE%B9%CE%BA%CE%AE" title="Συγκεκριμένη μουσική – Greek" lang="el" hreflang="el" data-title="Συγκεκριμένη μουσική" data-language-autonym="Ελληνικά" data-language-local-name="Greek" class="interlanguage-link-target"><span>Ελληνικά</span></a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/M%C3%BAsica_concreta" title="Música concreta – Spanish" lang="es" hreflang="es" data-title="Música concreta" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target"><span>Español</span></a></li><li class="interlanguage-link interwiki-eo mw-list-item"><a href="https://eo.wikipedia.org/wiki/Konkreta_muziko" title="Konkreta muziko – Esperanto" lang="eo" hreflang="eo" data-title="Konkreta muziko" data-language-autonym="Esperanto" data-language-local-name="Esperanto" class="interlanguage-link-target"><span>Esperanto</span></a></li><li class="interlanguage-link interwiki-fa mw-list-item"><a href="https://fa.wikipedia.org/wiki/%D9%85%D9%88%D8%B3%DB%8C%D9%82%DB%8C_%DA%A9%D8%A7%D9%86%DA%A9%D8%B1%DB%8C%D8%AA" title="موسیقی کانکریت – Persian" lang="fa" hreflang="fa" data-title="موسیقی کانکریت" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target"><span>فارسی</span></a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Musique_concr%C3%A8te" title="Musique concrète – French" lang="fr" hreflang="fr" data-title="Musique concrète" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target"><span>Français</span></a></li><li class="interlanguage-link interwiki-ga mw-list-item"><a href="https://ga.wikipedia.org/wiki/Musique_concr%C3%A8te" title="Musique concrète – Irish" lang="ga" hreflang="ga" data-title="Musique concrète" data-language-autonym="Gaeilge" data-language-local-name="Irish" class="interlanguage-link-target"><span>Gaeilge</span></a></li><li class="interlanguage-link interwiki-gl mw-list-item"><a href="https://gl.wikipedia.org/wiki/M%C3%BAsica_concreta" title="Música concreta – Galician" lang="gl" hreflang="gl" data-title="Música concreta" data-language-autonym="Galego" data-language-local-name="Galician" class="interlanguage-link-target"><span>Galego</span></a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%EA%B5%AC%EC%B2%B4_%EC%9D%8C%EC%95%85" title="구체 음악 – Korean" lang="ko" hreflang="ko" data-title="구체 음악" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target"><span>한국어</span></a></li><li class="interlanguage-link interwiki-hy mw-list-item"><a href="https://hy.wikipedia.org/wiki/%D4%BF%D5%B8%D5%B6%D5%AF%D6%80%D5%A5%D5%BF_%D5%A5%D6%80%D5%A1%D5%AA%D5%B7%D5%BF%D5%B8%D6%82%D5%A9%D5%B5%D5%B8%D6%82%D5%B6" title="Կոնկրետ երաժշտություն – Armenian" lang="hy" hreflang="hy" data-title="Կոնկրետ երաժշտություն" data-language-autonym="Հայերեն" data-language-local-name="Armenian" class="interlanguage-link-target"><span>Հայերեն</span></a></li><li class="interlanguage-link interwiki-hr mw-list-item"><a href="https://hr.wikipedia.org/wiki/Konkretna_glazba" title="Konkretna glazba – Croatian" lang="hr" hreflang="hr" data-title="Konkretna glazba" data-language-autonym="Hrvatski" data-language-local-name="Croatian" class="interlanguage-link-target"><span>Hrvatski</span></a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Musica_concreta" title="Musica concreta – Italian" lang="it" hreflang="it" data-title="Musica concreta" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target"><span>Italiano</span></a></li><li class="interlanguage-link interwiki-he mw-list-item"><a href="https://he.wikipedia.org/wiki/%D7%9E%D7%95%D7%96%D7%99%D7%A7_%D7%A7%D7%95%D7%A0%D7%A7%D7%A8%D7%98" title="מוזיק קונקרט – Hebrew" lang="he" hreflang="he" data-title="מוזיק קונקרט" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target"><span>עברית</span></a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/Musique_concr%C3%A8te" title="Musique concrète – Dutch" lang="nl" hreflang="nl" data-title="Musique concrète" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target"><span>Nederlands</span></a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E3%83%9F%E3%83%A5%E3%82%B8%E3%83%BC%E3%82%AF%E3%83%BB%E3%82%B3%E3%83%B3%E3%82%AF%E3%83%AC%E3%83%BC%E3%83%88" title="ミュジーク・コンクレート – Japanese" lang="ja" hreflang="ja" data-title="ミュジーク・コンクレート" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target"><span>日本語</span></a></li><li class="interlanguage-link interwiki-no mw-list-item"><a href="https://no.wikipedia.org/wiki/Konkret_musikk" title="Konkret musikk – Norwegian Bokmål" lang="nb" hreflang="nb" data-title="Konkret musikk" data-language-autonym="Norsk bokmål" data-language-local-name="Norwegian Bokmål" class="interlanguage-link-target"><span>Norsk bokmål</span></a></li><li class="interlanguage-link interwiki-nn mw-list-item"><a href="https://nn.wikipedia.org/wiki/Konkret_musikk" title="Konkret musikk – Norwegian Nynorsk" lang="nn" hreflang="nn" data-title="Konkret musikk" data-language-autonym="Norsk nynorsk" data-language-local-name="Norwegian Nynorsk" class="interlanguage-link-target"><span>Norsk nynorsk</span></a></li><li class="interlanguage-link interwiki-uz mw-list-item"><a href="https://uz.wikipedia.org/wiki/Konkret_musiqa" title="Konkret musiqa – Uzbek" lang="uz" hreflang="uz" data-title="Konkret musiqa" data-language-autonym="Oʻzbekcha / ўзбекча" data-language-local-name="Uzbek" class="interlanguage-link-target"><span>Oʻzbekcha / ўзбекча</span></a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Muzyka_konkretna" title="Muzyka konkretna – Polish" lang="pl" hreflang="pl" data-title="Muzyka konkretna" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target"><span>Polski</span></a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/M%C3%BAsica_concreta" title="Música concreta – Portuguese" lang="pt" hreflang="pt" data-title="Música concreta" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target"><span>Português</span></a></li><li class="interlanguage-link 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musiikki" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target"><span>Suomi</span></a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Konkret_musik" title="Konkret musik – Swedish" lang="sv" hreflang="sv" data-title="Konkret musik" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target"><span>Svenska</span></a></li><li class="interlanguage-link interwiki-th mw-list-item"><a href="https://th.wikipedia.org/wiki/%E0%B8%94%E0%B8%99%E0%B8%95%E0%B8%A3%E0%B8%B5%E0%B9%81%E0%B8%9B%E0%B8%A5%E0%B8%87%E0%B8%A3%E0%B8%B9%E0%B8%9B" title="ดนตรีแปลงรูป – Thai" lang="th" hreflang="th" data-title="ดนตรีแปลงรูป" data-language-autonym="ไทย" data-language-local-name="Thai" class="interlanguage-link-target"><span>ไทย</span></a></li><li class="interlanguage-link interwiki-tr mw-list-item"><a href="https://tr.wikipedia.org/wiki/Somut_m%C3%BCzik" title="Somut müzik – Turkish" lang="tr" hreflang="tr" data-title="Somut müzik" data-language-autonym="Türkçe" data-language-local-name="Turkish" class="interlanguage-link-target"><span>Türkçe</span></a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a href="https://uk.wikipedia.org/wiki/%D0%9A%D0%BE%D0%BD%D0%BA%D1%80%D0%B5%D1%82%D0%BD%D0%B0_%D0%BC%D1%83%D0%B7%D0%B8%D0%BA%D0%B0" title="Конкретна музика – Ukrainian" lang="uk" hreflang="uk" data-title="Конкретна музика" data-language-autonym="Українська" data-language-local-name="Ukrainian" class="interlanguage-link-target"><span>Українська</span></a></li><li class="interlanguage-link interwiki-zh mw-list-item"><a href="https://zh.wikipedia.org/wiki/%E5%85%B7%E8%B1%A1%E9%9F%B3%E4%B9%90" title="具象音乐 – Chinese" lang="zh" hreflang="zh" data-title="具象音乐" data-language-autonym="中文" data-language-local-name="Chinese" class="interlanguage-link-target"><span>中文</span></a></li> </ul> <div class="after-portlet after-portlet-lang"><span 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<div class="mw-indicators"> </div> <div id="siteSub" class="noprint">From Wikipedia, the free encyclopedia</div> </div> <div id="contentSub"><div id="mw-content-subtitle"><span class="mw-redirectedfrom">(Redirected from <a href="/w/index.php?title=Musique_concrete&redirect=no" class="mw-redirect" title="Musique concrete">Musique concrete</a>)</span></div></div> <div id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Form of electroacoustic music</div> <p> <b>Musique concrète</b> (<style data-mw-deduplicate="TemplateStyles:r1177148991">.mw-parser-output .IPA-label-small{font-size:85%}.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-small{font-size:100%}</style><span class="IPA-label IPA-label-small">French pronunciation:</span> <span class="IPA nowrap" lang="fr-Latn-fonipa"><a href="/wiki/Help:IPA/French" title="Help:IPA/French">[myzik<span class="wrap"> </span>kɔ̃kʁɛt]</a></span>; <abbr style="font-size:85%" title="literal translation">lit.</abbr><span style="white-space: nowrap;"> </span><span class="gloss-quot">'</span><span class="gloss-text">concrete music</span><span class="gloss-quot">'</span>)<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>nb 1<span class="cite-bracket">]</span></a></sup> is a type of <a href="/wiki/Music_composition" class="mw-redirect" title="Music composition">music composition</a> that utilizes <a href="/wiki/Recorded_sound" class="mw-redirect" title="Recorded sound">recorded sounds</a> as raw material.<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> Sounds are often modified through the application of <a href="/wiki/Audio_signal_processing" title="Audio signal processing">audio signal processing</a> and <a href="/wiki/Tape_music" class="mw-redirect" title="Tape music">tape music</a> techniques, and may be assembled into a form of <a href="/wiki/Sound_collage" title="Sound collage">sound collage</a>.<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>nb 2<span class="cite-bracket">]</span></a></sup> It can feature sounds derived from recordings of <a href="/wiki/Musical_instrument" title="Musical instrument">musical instruments</a>, the <a href="/wiki/Human_voice" title="Human voice">human voice</a>, and the natural environment as well as those created using sound <a href="/wiki/Synthesizer" title="Synthesizer">synthesis</a> and computer-based <a href="/wiki/Digital_signal_processing" title="Digital signal processing">digital signal processing</a>. Compositions in this idiom are not restricted to the normal musical rules of <a href="/wiki/Melody" title="Melody">melody</a>, <a href="/wiki/Harmony" title="Harmony">harmony</a>, <a href="/wiki/Rhythm" title="Rhythm">rhythm</a>, and <a href="/wiki/Metre_(music)" title="Metre (music)">metre</a>.<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> The technique exploits <a href="/wiki/Acousmatic_sound" title="Acousmatic sound">acousmatic sound</a>, such that sound identities can often be intentionally obscured or appear unconnected to their source cause. </p><p>The theoretical basis of <i>musique concrète</i> as a compositional practice was developed by French composer <a href="/wiki/Pierre_Schaeffer" title="Pierre Schaeffer">Pierre Schaeffer</a> 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 <a href="/wiki/Sound_object" title="Sound object">sound objects</a> (<i>l'objet sonore</i>).<sup id="cite_ref-ODM_6-0" class="reference"><a href="#cite_note-ODM-6"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> By the early 1950s musique concrète was contrasted with "pure" <i><a href="/wiki/Electronic_music#Elektronische_Musik,_Germany" title="Electronic music">elektronische Musik</a></i> as then developed in <a href="/wiki/West_Germany" title="West Germany">West Germany</a> <i>–</i> 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.<sup id="cite_ref-ODM_6-1" class="reference"><a href="#cite_note-ODM-6"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> Schaeffer's work resulted in the establishment of France's Groupe de Recherches de Musique Concrète (GRMC), which attracted important figures including <a href="/wiki/Pierre_Henry" title="Pierre Henry">Pierre Henry</a>, <a href="/wiki/Luc_Ferrari" title="Luc Ferrari">Luc Ferrari</a>, <a href="/wiki/Pierre_Boulez" title="Pierre Boulez">Pierre Boulez</a>, <a href="/wiki/Karlheinz_Stockhausen" title="Karlheinz Stockhausen">Karlheinz Stockhausen</a>, <a href="/wiki/Edgard_Var%C3%A8se" title="Edgard Varèse">Edgard Varèse</a>, and <a href="/wiki/Iannis_Xenakis" title="Iannis Xenakis">Iannis Xenakis</a>. From the late 1960s onward, and particularly in France, the term <a href="/wiki/Acousmatic_music" title="Acousmatic music">acousmatic music</a> (<i>musique acousmatique</i>) was used in reference to fixed media compositions that utilized both <i>musique concrète-</i>based techniques and live sound spatialisation. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="History">History</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Musique_concr%C3%A8te&action=edit&section=1" title="Edit section: History"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Beginnings">Beginnings</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Musique_concr%C3%A8te&action=edit&section=2" title="Edit section: Beginnings"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Electroacoustic_music" title="Electroacoustic music">Electroacoustic music</a> and <a href="/wiki/Tape_music" class="mw-redirect" title="Tape music">Tape music</a></div> <p>In 1928 music critic André Cœuroy wrote in his book <i>Panorama of Contemporary Music</i> that "perhaps the time is not far off when a composer will be able to represent through recording, music specifically composed for the <a href="/wiki/Phonograph" title="Phonograph">gramophone</a>".<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> In the same period the American composer <a href="/wiki/Henry_Cowell" title="Henry Cowell">Henry Cowell</a>, in referring to the projects of <a href="/wiki/Nikolai_Lopatnikoff" title="Nikolai Lopatnikoff">Nikolai Lopatnikoff</a>, believed that "there was a wide field open for the composition of music for phonographic discs". This sentiment was echoed further in 1930 by <a href="/wiki/Igor_Stravinsky" title="Igor Stravinsky">Igor Stravinsky</a>, when he stated in the revue <i>Kultur und Schallplatte</i> 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, <a href="/wiki/Boris_de_Schl%C3%B6zer" title="Boris de Schlözer">Boris de Schloezer</a> also expressed the opinion that one could write for the gramophone or for the <a href="/wiki/Radio" title="Radio">wireless</a> just as one can for the piano or the violin.<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> Shortly after, German art theorist <a href="/wiki/Rudolf_Arnheim" title="Rudolf Arnheim">Rudolf Arnheim</a> 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, noise and language in order to obtain a unity of material: that is one of the chief artistic tasks of radio".<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> </p><p>Possible antecedents to musique concrète have been noted; <a href="/wiki/Walter_Ruttmann" title="Walter Ruttmann">Walter Ruttmann</a>'s film <i>Wochend</i> (<i>Weekend</i>) (1930), a work of "blind cinema" without visuals,<sup id="cite_ref-FOOTNOTEKim-Cohen200910_10-0" class="reference"><a href="#cite_note-FOOTNOTEKim-Cohen200910-10"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> introduced recordings of environmental sound, to represent the urban soundscape of <a href="/wiki/Berlin" title="Berlin">Berlin</a>, two decades before musique concrète was formalised.<sup id="cite_ref-FOOTNOTEKim-Cohen200910_10-1" class="reference"><a href="#cite_note-FOOTNOTEKim-Cohen200910-10"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTERoads2015248_11-0" class="reference"><a href="#cite_note-FOOTNOTERoads2015248-11"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> Ruttmann's soundtrack has been retrospectively called <i>musique concrète</i>.<sup id="cite_ref-FOOTNOTEGoehr2008329_12-0" class="reference"><a href="#cite_note-FOOTNOTEGoehr2008329-12"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> According to Seth Kim-Cohen the piece was the first to "organise 'concrete' sounds into a formal, artistic composition."<sup id="cite_ref-FOOTNOTEKim-Cohen200910_10-2" class="reference"><a href="#cite_note-FOOTNOTEKim-Cohen200910-10"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> Composer <a href="/wiki/Irwin_Bazelon" title="Irwin Bazelon">Irwin Bazelon</a> referred to a sound collage in the film <i><a href="/wiki/Dr._Jekyll_and_Mr._Hyde_(1931_film)" title="Dr. Jekyll and Mr. Hyde (1931 film)">Dr. Jekyll and Mr. Hyde</a></i> (1931), during the first transformation scene, as "pre-musique concrète".<sup id="cite_ref-FOOTNOTELerner200956_13-0" class="reference"><a href="#cite_note-FOOTNOTELerner200956-13"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Ottorino_Respighi" title="Ottorino Respighi">Ottorino Respighi</a>'s <i><a href="/wiki/Pines_of_Rome" title="Pines of Rome">Pines of Rome</a></i> (1924) calls for a phonograph recording of <a href="/wiki/Bird_vocalization" title="Bird vocalization">birdsong</a> to be played during the third movement.<sup id="cite_ref-FOOTNOTERehdingDolan2021[[Category:Wikipedia_articles_needing_page_number_citations_from_March_2024]]<sup_class="noprint_Inline-Template_"_style="white-space:nowrap;">&#91;<i>[[Wikipedia:Citing_sources|<span_title="This_citation_requires_a_reference_to_the_specific_page_or_range_of_pages_in_which_the_material_appears.&#32;(March_2024)">page&nbsp;needed</span>]]</i>&#93;</sup>_14-0" class="reference"><a href="#cite_note-FOOTNOTERehdingDolan2021[[Category:Wikipedia_articles_needing_page_number_citations_from_March_2024]]<sup_class="noprint_Inline-Template_"_style="white-space:nowrap;">&#91;<i>[[Wikipedia:Citing_sources|<span_title="This_citation_requires_a_reference_to_the_specific_page_or_range_of_pages_in_which_the_material_appears.&#32;(March_2024)">page&nbsp;needed</span>]]</i>&#93;</sup>-14"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Pierre_Schaeffer_and_Studio_d'Essai"><span id="Pierre_Schaeffer_and_Studio_d.27Essai"></span>Pierre Schaeffer and Studio d'Essai</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Musique_concr%C3%A8te&action=edit&section=3" title="Edit section: Pierre Schaeffer and Studio d'Essai"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Studio_d%27Essai" title="Studio d'Essai">Studio d'Essai</a></div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:L430xH465_jpg_Schaeffer_big-2eb70.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/en/thumb/c/ca/L430xH465_jpg_Schaeffer_big-2eb70.jpg/220px-L430xH465_jpg_Schaeffer_big-2eb70.jpg" decoding="async" width="220" height="237" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/c/ca/L430xH465_jpg_Schaeffer_big-2eb70.jpg 1.5x" data-file-width="304" data-file-height="328" /></a><figcaption><a href="/wiki/Pierre_Schaeffer" title="Pierre Schaeffer">Pierre Schaeffer</a> with the phonogène</figcaption></figure> <p>In 1942, French composer and theoretician <a href="/wiki/Pierre_Schaeffer" title="Pierre Schaeffer">Pierre Schaeffer</a> began his exploration of radiophony when he joined <a href="/wiki/Jacques_Copeau" title="Jacques Copeau">Jacques Copeau</a> and his pupils in the foundation of the <a href="/wiki/Studio_d%27Essai" title="Studio d'Essai">Studio d'Essai</a> de la <a href="/wiki/Radiodiffusion_Nationale_(France)" title="Radiodiffusion Nationale (France)">Radiodiffusion nationale</a>. The studio originally functioned as a center for the <a href="/wiki/French_Resistance" title="French Resistance">French Resistance</a> 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.<sup id="cite_ref-Palombini-1993-p14_15-0" class="reference"><a href="#cite_note-Palombini-1993-p14-15"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> In 1948 Schaeffer began to keep a set of journals describing his attempt to create a "symphony of noises".<sup id="cite_ref-FOOTNOTESchaeffer1952ach._Journal_entry_of_March_1948_16-0" class="reference"><a href="#cite_note-FOOTNOTESchaeffer1952ach._Journal_entry_of_March_1948-16"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> These journals were published in 1952 as <i>A la recherche d'une musique concrète</i>, and according to Brian Kane, author of <i>Sound Unseen: Acousmatic Sound in Theory and Practice</i>, 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.<sup id="cite_ref-FOOTNOTEKane2014_17-0" class="reference"><a href="#cite_note-FOOTNOTEKane2014-17"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> </p><p>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.<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> Another important influence on Schaeffer's practice was cinema, and 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, <a href="/wiki/Jean_Epstein" title="Jean Epstein">Jean Epstein</a> 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. 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".<sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Halim_El-Dabh">Halim El-Dabh</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Musique_concr%C3%A8te&action=edit&section=4" title="Edit section: Halim El-Dabh"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>As a student in <a href="/wiki/Cairo" title="Cairo">Cairo</a> in the early to mid-1940s, Egyptian composer <a href="/wiki/Halim_El-Dabh" title="Halim El-Dabh">Halim El-Dabh</a> began experimenting with electroacoustic music using a cumbersome <a href="/wiki/Wire_recording" title="Wire recording">wire recorder</a>. He recorded the sounds of an ancient <i><a href="/wiki/Z%C4%81r" title="Zār">zaar</a></i> 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 <i>The Expression of Zaar</i>, 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 <a href="/wiki/Computer_Music_Center" title="Computer Music Center">Columbia-Princeton Electronic Music Center</a> in Manhattan in the late 1950s.<sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Club_d'Essai_and_Cinq_études_de_bruits"><span id="Club_d.27Essai_and_Cinq_.C3.A9tudes_de_bruits"></span>Club d'Essai and <i>Cinq études de bruits</i></h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Musique_concr%C3%A8te&action=edit&section=5" title="Edit section: Club d'Essai and Cinq études de bruits"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>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 <i>musique concrète.</i> The Studio d'Essai was renamed Club d'Essai de la Radiodiffusion-Télévision Française<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (April 2024)">citation needed</span></a></i>]</sup> 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 further exploit compositionally. In 1948 Schaeffer formally initiated "research in to noises" at the Club d'Essai<sup id="cite_ref-Palombini-1993-p14_15-1" class="reference"><a href="#cite_note-Palombini-1993-p14-15"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> and on 5 October 1948 the results of his initial experimentation were premiered at a concert given in Paris.<sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> Five works for <a href="/wiki/Phonograph" title="Phonograph">phonograph</a> – known collectively as <i><a href="/wiki/Cinq_%C3%A9tudes_de_bruits" title="Cinq études de bruits">Cinq études de bruits</a></i> (Five Studies of Noises) including <i>Étude violette</i> (<i>Study in Purple</i>) and <i>Étude aux chemins de fer</i> (Study with Railroads) – were presented. </p> <div class="mw-heading mw-heading3"><h3 id="Musique_concrète"><span id="Musique_concr.C3.A8te"></span>Musique concrète</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Musique_concr%C3%A8te&action=edit&section=6" title="Edit section: Musique concrète"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>By 1949 Schaeffer's compositional work was known publicly as <i>musique concrète</i>.<sup id="cite_ref-Palombini-1993-p14_15-2" class="reference"><a href="#cite_note-Palombini-1993-p14-15"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> 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".<sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> According to <a href="/wiki/Pierre_Henry" title="Pierre Henry">Pierre Henry</a>, "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".<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> Schaeffer had developed an aesthetic that was centred upon the use of sound as a primary <a href="/wiki/Music_composition" class="mw-redirect" title="Music composition">compositional</a> resource. The aesthetic also emphasised the importance of play (<i>jeu</i>) in the practice of sound based composition. Schaeffer's use of the word <i>jeu</i>, from the verb <i>jouer</i>, carries the same double meaning as the English verb <i>to play</i>: 'to enjoy oneself by interacting with one's surroundings', as well as 'to operate a musical instrument'.<sup id="cite_ref-24" class="reference"><a href="#cite_note-24"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Groupe_de_Recherche_de_Musique_Concrète"><span id="Groupe_de_Recherche_de_Musique_Concr.C3.A8te"></span>Groupe de Recherche de Musique Concrète</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Musique_concr%C3%A8te&action=edit&section=7" title="Edit section: Groupe de Recherche de Musique Concrète"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>By 1951 the work of Schaeffer, composer-<a href="/wiki/Percussionist" class="mw-redirect" title="Percussionist">percussionist</a> Pierre Henry, and sound engineer Jacques Poullin had received official recognition and the Groupe de Recherches de Musique Concrète, Club d 'Essai de la <a href="/wiki/Radiodiffusion-T%C3%A9l%C3%A9vision_Fran%C3%A7aise" title="Radiodiffusion-Télévision Française">Radiodiffusion-Télévision Française</a> was established at RTF in Paris, the ancestor of the <a href="/wiki/ORTF" class="mw-redirect" title="ORTF">ORTF</a>.<sup id="cite_ref-25" class="reference"><a href="#cite_note-25"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> At RTF the GRMC established the first purpose-built <a href="/wiki/Electroacoustic_music" title="Electroacoustic music">electroacoustic music</a> studio. It quickly attracted many who either were or were later to become notable composers, including <a href="/wiki/Olivier_Messiaen" title="Olivier Messiaen">Olivier Messiaen</a>, <a href="/wiki/Pierre_Boulez" title="Pierre Boulez">Pierre Boulez</a>, <a href="/wiki/Jean_Barraqu%C3%A9" title="Jean Barraqué">Jean Barraqué</a>, <a href="/wiki/Karlheinz_Stockhausen" title="Karlheinz Stockhausen">Karlheinz Stockhausen</a>, <a href="/wiki/Edgard_Var%C3%A8se" title="Edgard Varèse">Edgard Varèse</a>, <a href="/wiki/Iannis_Xenakis" title="Iannis Xenakis">Iannis Xenakis</a>, <a href="/wiki/Michel_Philippot" title="Michel Philippot">Michel Philippot</a>, and <a href="/wiki/Arthur_Honegger" title="Arthur Honegger">Arthur Honegger</a>. Compositional "output from 1951 to 1953 comprised <i>Étude I</i> (1951) and <i>Étude II</i> (1951) by Boulez, <i>Timbres-durées</i> (1952) by Messiaen, <i><a href="/wiki/Konkrete_Et%C3%BCde" title="Konkrete Etüde">Étude aux mille collants</a></i> (1952) by Stockhausen, <i>Le microphone bien tempéré</i> (1952) and <i>La voile d'Orphée</i> (1953) by Henry, <i>Étude I</i> (1953) by Philippot, <i>Étude</i> (1953) by Barraqué, the mixed pieces <i>Toute la lyre</i> (1951) and <i>Orphée 53</i> (1953) by Schaeffer/Henry, and the film music <i>Masquerage</i> (1952) by Schaeffer and <i>Astrologie</i> (1953) by Henry. In 1954 Varèse and Honegger visited to work on the tape parts of <i><a href="/wiki/D%C3%A9serts" title="Déserts">Déserts</a></i> and <i>La rivière endormie</i>".<sup id="cite_ref-Palombini-1999_26-0" class="reference"><a href="#cite_note-Palombini-1999-26"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> </p><p>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 composing talent developed greatly during this period at the GRMC and he worked with <a href="/wiki/Experimental_film" title="Experimental film">experimental filmmakers</a> such as Max de Haas, <a href="/wiki/Jean_Gr%C3%A9millon" title="Jean Grémillon">Jean Grémillon</a>, Enrico Fulchignoni, and <a href="/wiki/Jean_Rouch" title="Jean Rouch">Jean Rouch</a> and with <a href="/wiki/Choreography" title="Choreography">choreographers</a> including Dick Sanders and Maurice Béjart.<sup id="cite_ref-Gayou-2007a-p206_27-0" class="reference"><a href="#cite_note-Gayou-2007a-p206-27"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> 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 research and to offer a much needed welcome to young composers".<sup id="cite_ref-Gayou-2007a-p207_28-0" class="reference"><a href="#cite_note-Gayou-2007a-p207-28"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Groupe_de_Recherches_Musicales">Groupe de Recherches Musicales</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Musique_concr%C3%A8te&action=edit&section=8" title="Edit section: Groupe de Recherches Musicales"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>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 <i><b>Groupe de Recherches Musicales</b></i> (GRM) and set about recruiting new members including <a href="/wiki/Luc_Ferrari" title="Luc Ferrari">Luc Ferrari</a>, <a href="/wiki/Beatriz_Ferreyra" title="Beatriz Ferreyra">Beatriz Ferreyra</a>, <a href="/wiki/Fran%C3%A7ois-Bernard_M%C3%A2che" title="François-Bernard Mâche">François-Bernard Mâche</a>, <a href="/wiki/Iannis_Xenakis" title="Iannis Xenakis">Iannis Xenakis</a>, <a href="/wiki/Bernard_Parmegiani" title="Bernard Parmegiani">Bernard Parmegiani</a>, and <a href="/wiki/Mireille_Chamass-Kyrou" title="Mireille Chamass-Kyrou">Mireille Chamass-Kyrou</a>. Later arrivals included <a href="/wiki/Ivo_Malec" title="Ivo Malec">Ivo Malec</a>, Philippe Carson, Romuald Vandelle, Edgardo Canton and <a href="/wiki/Fran%C3%A7ois_Bayle" title="François Bayle">François Bayle</a>.<sup id="cite_ref-Gayou-2007a-p207_28-1" class="reference"><a href="#cite_note-Gayou-2007a-p207-28"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> </p><p>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 Recherches Langage which became the Groupe d'Etudes Critiques.<sup id="cite_ref-Gayou-2007a-p207_28-2" class="reference"><a href="#cite_note-Gayou-2007a-p207-28"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> 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).<sup id="cite_ref-29" class="reference"><a href="#cite_note-29"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> At the GRM the theoretical teaching remained based on practice and could be summed up in the catch phrase <i>do and listen</i>.<sup id="cite_ref-Gayou-2007a-p207_28-3" class="reference"><a href="#cite_note-Gayou-2007a-p207-28"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> </p><p>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 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.<sup id="cite_ref-Gayou-2007a-p206_27-1" class="reference"><a href="#cite_note-Gayou-2007a-p206-27"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Traité_des_objets_musicaux"><span id="Trait.C3.A9_des_objets_musicaux"></span>Traité des objets musicaux</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Musique_concr%C3%A8te&action=edit&section=9" title="Edit section: Traité des objets musicaux"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The group continued to refine Schaeffer's ideas and strengthened the concept of <i><a href="/wiki/Acousmatic_music" title="Acousmatic music">musique acousmatique</a></i>.<sup id="cite_ref-30" class="reference"><a href="#cite_note-30"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> Schaeffer had borrowed the term <a href="/wiki/Acousmatic_sound" title="Acousmatic sound">acousmatic</a> from <a href="/wiki/Pythagoras" title="Pythagoras">Pythagoras</a> and defined it as: "<i>Acousmatic, <a href="/wiki/Adjective" title="Adjective">adjective</a>: referring to a sound that one hears without seeing the causes behind it</i>".<sup id="cite_ref-31" class="reference"><a href="#cite_note-31"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> In 1966 Schaeffer published the book <i>Traité des objets musicaux</i> (Treatise on Musical Objects) which represented the culmination of some 20 years of research in the field of <i>musique concrète</i>. In conjunction with this publication, a set of sound recordings was produced, entitled <i>Le solfège de l'objet sonore</i> (Music Theory of the Acoustic Object), to provide examples of concepts dealt with in the treatise. </p> <div class="mw-heading mw-heading2"><h2 id="Technology">Technology</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Musique_concr%C3%A8te&action=edit&section=10" title="Edit section: Technology"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The development of musique concrète was facilitated by the emergence of new <a href="/wiki/Music_technology" title="Music technology">music technology</a> in post-war Europe. Access to microphones, phonographs, and later <a href="/wiki/Tape_recorder" title="Tape recorder">magnetic tape recorders</a> (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. </p> <div class="mw-heading mw-heading3"><h3 id="Initial_tools_of_musique_concrète"><span id="Initial_tools_of_musique_concr.C3.A8te"></span>Initial tools of musique concrète</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Musique_concr%C3%A8te&action=edit&section=11" title="Edit section: Initial tools of musique concrète"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In 1948, a typical <a href="/wiki/Radio_studio" class="mw-redirect" title="Radio studio">radio studio</a> consisted of a series of shellac <a href="/wiki/Phonograph" title="Phonograph">record players</a>, a <a href="/wiki/Shellac" title="Shellac">shellac</a> record recorder, a <a href="/wiki/Mixing_desk" class="mw-redirect" title="Mixing desk">mixing desk</a> with rotating <a href="/wiki/Potentiometer" title="Potentiometer">potentiometers</a>, mechanical <a href="/wiki/Reverberation" title="Reverberation">reverberation</a> units, <a href="/wiki/Audio_filter" title="Audio filter">filters</a>, and <a href="/wiki/Microphone" title="Microphone">microphones</a>. This technology made a number of limited operations available to a composer:<sup id="cite_ref-Teruggi-2007-pneeded_32-0" class="reference"><a href="#cite_note-Teruggi-2007-pneeded-32"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> </p> <ul><li><b>Shellac record players</b>: could play sound forwards or in reverse; could change speed at fixed ratios, permitting limited <a href="/wiki/Transposition_(music)" title="Transposition (music)">transposition</a>.</li> <li><b>Shellac recorder</b>: would record any result coming out of the mixing desk.</li> <li><b>Mixing desk</b>: 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.</li> <li><b>Mechanical reverberation</b>: made of a metal plate or a series of springs that created an artificial reverb effect.</li> <li><b>Filters</b>: two kinds of filters, third-octave octave filter banks and <a href="/wiki/High-pass_filter" title="High-pass filter">high-</a> and <a href="/wiki/Low-pass_filter" title="Low-pass filter">low-pass filters</a>. They allowed the elimination or enhancement of selected <a href="/wiki/Audio_frequency" title="Audio frequency">frequencies</a>.</li> <li><b>Microphones</b>: essential tool for capturing sound.</li></ul> <p>The application of the above technologies in the creation of musique concrète led to the development of a number of sound manipulation techniques including:<sup id="cite_ref-Teruggi-2007-pneeded_32-1" class="reference"><a href="#cite_note-Teruggi-2007-pneeded-32"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> </p> <ul><li><b>Sound transposition</b>: reading a sound at a different speed than the one at which it was recorded.</li> <li><b>Sound looping</b>: composers developed a skilled technique in order to create loops at specific locations within a recording.</li> <li><b>Sound-sample extraction</b>: a hand-controlled method that required delicate manipulation to get a clean <a href="/wiki/Sampling_(music)" title="Sampling (music)">sample</a> of sound. It entailed letting the <a href="/wiki/Magnetic_cartridge" title="Magnetic cartridge">stylus</a> read only a small segment of a <a href="/wiki/Phonograph" title="Phonograph">record</a>. Used in the <i>Symphonie pour un homme seul</i>.</li> <li><b>Filtering</b>: by eliminating certain frequencies from a signal, the remains would keep some trace of the original sound but alter it often beyond recognition.</li></ul> <div class="mw-heading mw-heading3"><h3 id="Magnetic_tape">Magnetic tape</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Musique_concr%C3%A8te&action=edit&section=12" title="Edit section: Magnetic tape"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>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 <i>Symphonie pour un homme seul</i> (1950–1951) was mainly composed with records even if the tape recorder was available.<sup id="cite_ref-Teruggi-2007-p216_33-0" class="reference"><a href="#cite_note-Teruggi-2007-p216-33"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> 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 "<a href="/wiki/Micromontage" class="mw-redirect" title="Micromontage">micromontage</a>", in which very small fragments of sound were edited together, thus creating completely new sounds or structures on a larger scale.<sup id="cite_ref-Teruggi-2007-p217_34-0" class="reference"><a href="#cite_note-Teruggi-2007-p217-34"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Development_of_novel_devices">Development of novel devices</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Musique_concr%C3%A8te&action=edit&section=13" title="Edit section: Development of novel devices"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>During the GRMC period from 1951 to 1958, Schaeffer and Poullin developed a number of novel sound creation tools. These included a three-track <a href="/wiki/Multitrack_recording" title="Multitrack recording">tape recorder</a>; a machine with ten playback heads to replay tape loops in echo (the morphophone); a <a href="/wiki/Music_keyboard" class="mw-redirect" title="Music keyboard">keyboard</a>-controlled machine to play tape loops at preset speeds (the keyboard, <a href="/wiki/Chromatic" class="mw-redirect" title="Chromatic">chromatic</a>, or <i>Tolana phonogène</i>); a slide-controlled machine to replay tape loops at a continuously variable range of speeds (the handle, continuous, or <i>Sareg phonogène</i>); and a device to distribute an encoded track across four <a href="/wiki/Loudspeaker" title="Loudspeaker">loudspeakers</a>, including one hanging from the centre of the ceiling (the <i>potentiomètre d'espace</i>).<sup id="cite_ref-Palombini-1999_26-1" class="reference"><a href="#cite_note-Palombini-1999-26"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="Phonogène"><span id="Phonog.C3.A8ne"></span><i>Phonogène</i></h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Musique_concr%C3%A8te&action=edit&section=14" title="Edit section: Phonogène"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Phonogene.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/70/Phonogene.jpg/170px-Phonogene.jpg" decoding="async" width="170" height="221" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/70/Phonogene.jpg/255px-Phonogene.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/7/70/Phonogene.jpg 2x" data-file-width="312" data-file-height="406" /></a><figcaption>The chromatic phonogène</figcaption></figure> <p>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: </p> <ul><li>Variation in the sounds' length, in a manner directly proportional to the ratio of speed variation.</li> <li>Variation in length is coupled with a variation in <a href="/wiki/Pitch_(music)" title="Pitch (music)">pitch</a>, and is also proportional to the ratio of speed variation.</li> <li>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.</li> <li>The distribution of spectral energy is altered, thereby influencing how the resulting timbre might be perceived, relative to its original unaltered state.</li></ul> <p>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 the sliding version by the SAREG Company.<sup id="cite_ref-Poullin-1999_35-0" class="reference"><a href="#cite_note-Poullin-1999-35"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> A third version was developed later at ORTF. An outline of the unique capabilities of the various phonogènes can be seen here: </p> <ul><li><b>Chromatic</b>: 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 <a href="/wiki/Pinch_roller" class="mw-redirect" title="Pinch roller">pinch roller</a> / <a href="/wiki/Capstan_(tape_recorder)" class="mw-redirect" title="Capstan (tape recorder)">capstan</a> arrangement and cause the tape to be played at a specific speed. The machine worked with short sounds only.<sup id="cite_ref-Poullin-1999_35-1" class="reference"><a href="#cite_note-Poullin-1999-35"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup></li> <li><b>Sliding</b>: The sliding phonogène (also called continuous-variation phonogène) provided continuous variation of tape speed using a control rod.<sup id="cite_ref-Poullin-1999_35-2" class="reference"><a href="#cite_note-Poullin-1999-35"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> 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 <i>Voile d'Orphée</i> by Pierre Henry (1953), where a lengthy <a href="/wiki/Glissando" title="Glissando">glissando</a> is used to symbolise the removal of <a href="/wiki/Orpheus" title="Orpheus">Orpheus</a>'s veil as he enters hell.</li> <li><b>Universal</b>: 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 <a href="/wiki/Audio_timescale-pitch_modification" class="mw-redirect" title="Audio timescale-pitch modification">harmonising</a> (transposing sound without modifying duration) and <a href="/wiki/Audio_timescale-pitch_modification" class="mw-redirect" title="Audio timescale-pitch modification">time stretching</a> (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.</li></ul> <div class="mw-heading mw-heading4"><h4 id="Three-head_tape_recorder">Three-head tape recorder</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Musique_concr%C3%A8te&action=edit&section=15" title="Edit section: Three-head tape recorder"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>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 <a href="/wiki/Monaural" class="mw-redirect" title="Monaural">monophonic</a>. The three-head tape recorder superposed three magnetic tapes that were dragged by a common motor, each tape having an independent <a href="/wiki/Bobbin" title="Bobbin">spool</a>. The objective was to keep the three tapes synchronised from a common starting point. Works could then be conceived <a href="/wiki/Polyphonic" class="mw-redirect" title="Polyphonic">polyphonically</a>, 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. <i>Timbres Durées</i> 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.<sup id="cite_ref-Teruggi-2007-p218_36-0" class="reference"><a href="#cite_note-Teruggi-2007-p218-36"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="Morphophone">Morphophone</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Musique_concr%C3%A8te&action=edit&section=16" title="Edit section: Morphophone"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Morphophone.JPG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/en/thumb/7/78/Morphophone.JPG/170px-Morphophone.JPG" decoding="async" width="170" height="208" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/7/78/Morphophone.JPG/255px-Morphophone.JPG 1.5x, //upload.wikimedia.org/wikipedia/en/7/78/Morphophone.JPG 2x" data-file-width="285" data-file-height="348" /></a><figcaption>The Morphophone</figcaption></figure> <p>This machine was conceived to build complex forms through repetition, and accumulation of events through <a href="/wiki/Delay_(audio_effect)" title="Delay (audio effect)">delays</a>, filtering and <a href="/wiki/Feedback" title="Feedback">feedback</a>. 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 <a href="/wiki/Tape_head" title="Tape head">magnetic heads</a> (one each <a href="/wiki/Recording_head" title="Recording head">recording head</a> 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 the disk. A separate <a href="/wiki/Amplifier" title="Amplifier">amplifier</a> and <a href="/wiki/Band-pass_filter" title="Band-pass filter">band-pass filter</a> for each head could modify the <a href="/wiki/Sound_spectrum" class="mw-redirect" title="Sound spectrum">spectrum</a> 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 continuous sounds.<sup id="cite_ref-Teruggi-2007-p218_36-1" class="reference"><a href="#cite_note-Teruggi-2007-p218-36"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="Early_sound_spatialisation_system">Early sound spatialisation system</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Musique_concr%C3%A8te&action=edit&section=17" title="Edit section: Early sound spatialisation system"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Pierre_Henry_in_concert,_1952.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/en/thumb/2/2f/Pierre_Henry_in_concert%2C_1952.jpg/220px-Pierre_Henry_in_concert%2C_1952.jpg" decoding="async" width="220" height="179" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/2/2f/Pierre_Henry_in_concert%2C_1952.jpg 1.5x" data-file-width="260" data-file-height="212" /></a><figcaption><a href="/wiki/Pierre_Henry" title="Pierre Henry">Pierre Henry</a> using induction coils to control sound spatially</figcaption></figure> <p>At the premiere of Pierre Schaeffer's <i>Symphonie pour un homme seul</i> in 1951, a system that was designed for the spatial control of sound was tested. It was called a <i>relief desk</i> (<i>pupitre de relief</i>, but also referred to as <i>pupitre d'espace</i> or <i>potentiomètre d'espace</i>) and was intended to control the dynamic level of music played from several shellac players. This created a <a href="/wiki/Stereophonic" class="mw-redirect" title="Stereophonic">stereophonic</a> effect by controlling the positioning of a <a href="/wiki/Monaural" class="mw-redirect" title="Monaural">monophonic</a> sound source.<sup id="cite_ref-Teruggi-2007-p218_36-2" class="reference"><a href="#cite_note-Teruggi-2007-p218-36"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-37" class="reference"><a href="#cite_note-37"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> The placement of loudspeakers in the performance space included two 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.<sup id="cite_ref-Teruggi-2007-p218_36-3" class="reference"><a href="#cite_note-Teruggi-2007-p218-36"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> A contemporary eyewitness described the <i>potentiomètre d'espace</i> in normal use: </p> <blockquote><p>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 <i>executant</i> 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 each.<br />The music thus came to one at varying intensity from various parts of the room, and this <i>spatial projection</i> gave new sense to the rather abstract sequence of sound originally recorded.<sup id="cite_ref-38" class="reference"><a href="#cite_note-38"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup></p></blockquote><p> 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.<sup id="cite_ref-Teruggi-2007-p218_36-4" class="reference"><a href="#cite_note-Teruggi-2007-p218-36"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> </p><div class="mw-heading mw-heading3"><h3 id="Coupigny_synthesiser_and_Studio_54_mixing_desk">Coupigny synthesiser and Studio 54 mixing desk</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Musique_concr%C3%A8te&action=edit&section=18" title="Edit section: Coupigny synthesiser and Studio 54 mixing desk"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:SchaefferStudio54.JPG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/en/thumb/d/da/SchaefferStudio54.JPG/220px-SchaefferStudio54.JPG" decoding="async" width="220" height="141" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/d/da/SchaefferStudio54.JPG/330px-SchaefferStudio54.JPG 1.5x, //upload.wikimedia.org/wikipedia/en/d/da/SchaefferStudio54.JPG 2x" data-file-width="394" data-file-height="252" /></a><figcaption>Pierre Schaeffer at the Studio 54 desk adjusting a Moog. The Coupigny is in the row below.</figcaption></figure> <p>After the longstanding rivalry with the <a href="/wiki/Electronic_music" title="Electronic music">electronic music</a> 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.<sup id="cite_ref-39" class="reference"><a href="#cite_note-39"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> The Coupigny <a href="/wiki/Synthesizer" title="Synthesizer">synthesiser</a>, named for its designer François Coupigny, director of the Group for Technical Research,<sup id="cite_ref-Battier-2007-p200_40-0" class="reference"><a href="#cite_note-Battier-2007-p200-40"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-Teruggi-2007-p220_41-0" class="reference"><a href="#cite_note-Teruggi-2007-p220-41"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> The mixing desk and synthesiser were combined in one unit and were created specifically for the creation of musique concrète. </p><p>The design of the desk was influenced by <a href="/wiki/Trade_union" title="Trade union">trade union</a> 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 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.<sup id="cite_ref-Teruggi-2007-p219_42-0" class="reference"><a href="#cite_note-Teruggi-2007-p219-42"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> </p><p>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 a synthesiser with <a href="/wiki/Envelope_(music)" title="Envelope (music)">envelope control</a> was something Pierre Schaeffer was against, since it favoured the preconception of music and therefore deviated from Schaeffer's principle of "making through listening".<sup id="cite_ref-Teruggi-2007-p219_42-1" class="reference"><a href="#cite_note-Teruggi-2007-p219-42"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> Because of Schaeffer's concerns the Coupigny synthesiser was conceived as a sound-event generator with parameters controlled globally, without a means to define values as precisely as some other synthesisers of the day.<sup id="cite_ref-Teruggi-2007-p219-220_43-0" class="reference"><a href="#cite_note-Teruggi-2007-p219-220-43"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup> </p><p>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 <a href="/wiki/Modular_synthesiser" class="mw-redirect" title="Modular synthesiser">modular synthesiser</a> including <a href="/wiki/Electronic_oscillator" title="Electronic oscillator">oscillators</a>, noise-generators, <a href="/wiki/Voltage-controlled_filter" title="Voltage-controlled filter">filters</a>, <a href="/wiki/Ring_modulation" title="Ring modulation">ring-modulators</a>, but an <a href="/wiki/Intermodulation" title="Intermodulation">intermodulation</a> facility was viewed as the primary requirement; to enable complex synthesis processes such as <a href="/wiki/Frequency_modulation" title="Frequency modulation">frequency modulation</a>, <a href="/wiki/Amplitude_modulation" title="Amplitude modulation">amplitude modulation</a>, and modulation via an external source. No keyboard was attached to the synthesiser and instead a specific and somewhat complex <a href="/wiki/Envelope_generator" class="mw-redirect" title="Envelope generator">envelope generator</a> 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.<sup id="cite_ref-Teruggi-2007-p220_41-1" class="reference"><a href="#cite_note-Teruggi-2007-p220-41"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> </p><p>The Coupigny synthesiser also served as the model for a smaller, portable unit, which has been used down to the present day.<sup id="cite_ref-Battier-2007-p200_40-1" class="reference"><a href="#cite_note-Battier-2007-p200-40"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Acousmonium">Acousmonium</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Musique_concr%C3%A8te&action=edit&section=19" title="Edit section: Acousmonium"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Psconcer.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/2b/Psconcer.jpg/220px-Psconcer.jpg" decoding="async" width="220" height="164" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/2b/Psconcer.jpg/330px-Psconcer.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/2/2b/Psconcer.jpg 2x" data-file-width="394" data-file-height="293" /></a><figcaption>Schaeffer presenting the Acousmonium</figcaption></figure> <p>In 1966 composer and technician <a href="/wiki/Fran%C3%A7ois_Bayle" title="François Bayle">François Bayle</a> was placed in charge of the Groupe de Recherches Musicales and in 1975, GRM was integrated with the new <a href="/wiki/Institut_national_de_l%27audiovisuel" title="Institut national de l'audiovisuel">Institut national de l'audiovisuel</a> (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 <a href="/wiki/Monaural" class="mw-redirect" title="Monaural">monophonic</a> sound sources across four speakers, Bayle and the engineer Jean-Claude Lallemand created an orchestra of loudspeakers (<i>un orchestre de haut-parleurs</i>) known as the <a href="/wiki/Acousmonium" title="Acousmonium">Acousmonium</a> in 1974.<sup id="cite_ref-Anon-2010_44-0" class="reference"><a href="#cite_note-Anon-2010-44"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup> An inaugural concert took place on 14 February 1974 at the Espace Pierre Cardin in Paris with a presentation of Bayle's <i>Expérience acoustique</i>.<sup id="cite_ref-Gayou-2007a-p209_45-0" class="reference"><a href="#cite_note-Gayou-2007a-p209-45"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup> </p><p>The Acousmonium is a specialised <a href="/wiki/Sound_reinforcement_system" title="Sound reinforcement system">sound reinforcement system</a> consisting of between 50 and 100 <a href="/wiki/Loudspeakers" class="mw-redirect" title="Loudspeakers">loudspeakers</a>, depending on the character of the concert, of varying shape and size. The system was designed specifically for the concert presentation of <a href="/wiki/Acousmatic_music" title="Acousmatic music">musique-concrète-based</a> works but with the added enhancement of sound spatialisation. Loudspeakers are placed both on stage and at positions throughout the performance space<sup id="cite_ref-Gayou-2007a-p209_45-1" class="reference"><a href="#cite_note-Gayou-2007a-p209-45"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup> and a mixing console is used to manipulate the placement of acousmatic material across the speaker array, using a <a href="/wiki/Performance" title="Performance">performative</a> technique known as <i><a href="/wiki/Sound_diffusion" title="Sound diffusion">sound diffusion</a></i>.<sup id="cite_ref-46" class="reference"><a href="#cite_note-46"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup> 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".<sup id="cite_ref-47" class="reference"><a href="#cite_note-47"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup> </p><p>As of 2010, the Acousmonium was still performing, with 64 speakers, 35 amplifiers, and 2 consoles.<sup id="cite_ref-Anon-2010_44-1" class="reference"><a href="#cite_note-Anon-2010-44"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="In_popular_music">In popular music</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Musique_concr%C3%A8te&action=edit&section=20" title="Edit section: In popular music"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>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 industrial-urban environment but the mediascape in which humans increasingly dwelled", according to writer <a href="/wiki/Simon_Reynolds" title="Simon Reynolds">Simon Reynolds</a>. Composers such as <a href="/wiki/James_Tenney" title="James Tenney">James Tenney</a> and <a href="/wiki/Arne_Melln%C3%A4s" title="Arne Mellnäs">Arne Mellnäs</a> created pieces in the 1960s that recontextualised the music of <a href="/wiki/Elvis_Presley" title="Elvis Presley">Elvis Presley</a> and the singer's own voice, respectively, while later in the decade, Bernard Parmegiani created the pieces <i>Pop'electric</i> and <i>Du pop a l'ane</i>, which used fragments of musical genres such as <a href="/wiki/Easy_listening" title="Easy listening">easy listening</a>, <a href="/wiki/Dixieland" class="mw-redirect" title="Dixieland">dixieland</a>, <a href="/wiki/Classical_music" title="Classical music">classical music</a> and <a href="/wiki/Progressive_rock" title="Progressive rock">progressive rock</a>.<sup id="cite_ref-FOOTNOTEReynolds2021_48-0" class="reference"><a href="#cite_note-FOOTNOTEReynolds2021-48"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup> Reynolds writes that this approach continued in the later work of musicians <a href="/wiki/Matmos" title="Matmos">Matmos</a>, whose <i><a href="/wiki/A_Chance_to_Cut_Is_a_Chance_to_Cure" title="A Chance to Cut Is a Chance to Cure">A Chance to Cut Is a Chance to Cure</a></i> (2001) was created with the sounds of <a href="/wiki/Cosmetic_surgery" class="mw-redirect" title="Cosmetic surgery">cosmetic surgery</a>, and the "pop-<a href="/wiki/Sound_collage" title="Sound collage">collage</a>" work of <a href="/wiki/John_Oswald_(composer)" title="John Oswald (composer)">John Oswald</a>, who referred to the approach as '<a href="/wiki/Plunderphonics" title="Plunderphonics">plunderphonics</a>'. Oswald's <i>Plexure</i> (1993) was created using recognisable elements of rock and pop music from 1982 to 1992.<sup id="cite_ref-FOOTNOTEReynolds2021_48-1" class="reference"><a href="#cite_note-FOOTNOTEReynolds2021-48"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="1960s">1960s</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Musique_concr%C3%A8te&action=edit&section=21" title="Edit section: 1960s"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>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 <a href="/wiki/The_Beatles" title="The Beatles">the Beatles</a>, who incorporated techniques such as tape loops, speed manipulation, and reverse playback in their song "<a href="/wiki/Tomorrow_Never_Knows" title="Tomorrow Never Knows">Tomorrow Never Knows</a>" (1966).<sup id="cite_ref-FOOTNOTEAlbiez2017_49-0" class="reference"><a href="#cite_note-FOOTNOTEAlbiez2017-49"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup> Bernard Gendron describes the Beatles' <i>musique concrète</i> experimentation as helping popularise avant-garde art in the era, alongside <a href="/wiki/Jimi_Hendrix" title="Jimi Hendrix">Jimi Hendrix</a>'s use of <a href="/wiki/Noise_music" title="Noise music">noise</a> and <a href="/wiki/Guitar_feedback" class="mw-redirect" title="Guitar feedback">feedback</a>, <a href="/wiki/Bob_Dylan" title="Bob Dylan">Bob Dylan</a>'s surreal lyricism and <a href="/wiki/Frank_Zappa" title="Frank Zappa">Frank Zappa</a>'s "ironic detachment".<sup id="cite_ref-FOOTNOTEGendron2002_50-0" class="reference"><a href="#cite_note-FOOTNOTEGendron2002-50"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup> In <i><a href="/wiki/The_Wire_(magazine)" title="The Wire (magazine)">The Wire</a></i>, <a href="/wiki/Edwin_Pouncey" class="mw-redirect" title="Edwin Pouncey">Edwin Pouncey</a> wrote that the 1960s represented the height of confluence between rock and academic music, noting that composers like <a href="/wiki/Luciano_Berio" title="Luciano Berio">Luciano Berio</a> and Pierre Henry found likeness in the "distorting-mirror" sound of <a href="/wiki/Psychedelic_rock" title="Psychedelic rock">psychedelic rock</a>, and that <i>concrète</i>'s contrasting tones and timbres were suited to the effects of <a href="/wiki/Psychedelic_drug" title="Psychedelic drug">psychedelic drugs</a>.<sup id="cite_ref-FOOTNOTEPouncey1999_51-0" class="reference"><a href="#cite_note-FOOTNOTEPouncey1999-51"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup> </p><p>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 <a href="/wiki/The_Lovin%27_Spoonful" title="The Lovin' Spoonful">the Lovin' Spoonful</a>'s "<a href="/wiki/Summer_in_the_City_(song)" title="Summer in the City (song)">Summer in the City</a>" (1966), <a href="/wiki/Love_(band)" title="Love (band)">Love</a>'s "<a href="/wiki/7_and_7_Is" title="7 and 7 Is">7 and 7 Is</a>" (1967) and <a href="/wiki/The_Box_Tops" title="The Box Tops">The Box Tops</a>' "<a href="/wiki/The_Letter_(Box_Tops_song)" title="The Letter (Box Tops song)">The Letter</a>" (1967).<sup id="cite_ref-FOOTNOTEPouncey1999_51-1" class="reference"><a href="#cite_note-FOOTNOTEPouncey1999-51"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup> Popular musicians more versed in modern classical and experimental music utilised elements of musique concrète more maturely, including Zappa and <a href="/wiki/The_Mothers_of_Invention" title="The Mothers of Invention">the Mothers of Invention</a> on pieces like the <a href="/wiki/Edgard_Var%C3%A8se" title="Edgard Varèse">Edgard Varèse</a> tribute "<a href="/wiki/The_Return_of_the_Son_of_Monster_Magnet" title="The Return of the Son of Monster Magnet">The Return of the Son of Monster Magnet</a>" (1966), "<a href="/wiki/We%27re_Only_in_It_for_the_Money" title="We're Only in It for the Money">The Chrome Planted Megaphone of Destiny</a>" and <i><a href="/wiki/Lumpy_Gravy" title="Lumpy Gravy">Lumpy Gravy</a></i> (both 1968), and <a href="/wiki/Jefferson_Airplane" title="Jefferson Airplane">Jefferson Airplane</a>'s "Would You Like a Snack?" (1968), while the <a href="/wiki/Grateful_Dead" title="Grateful Dead">Grateful Dead</a>'s album <i><a href="/wiki/Anthem_of_the_Sun" title="Anthem of the Sun">Anthem of the Sun</a></i> (1968), which featured Berio student <a href="/wiki/Phil_Lesh" title="Phil Lesh">Phil Lesh</a> on bass, features musique concrète passages that Pouncey compared to Varèse's <i>Deserts</i> and the "keyboard deconstructions" of John Cage and <a href="/wiki/Conlon_Nancarrow" title="Conlon Nancarrow">Conlon Nancarrow</a>.<sup id="cite_ref-FOOTNOTEPouncey1999_51-2" class="reference"><a href="#cite_note-FOOTNOTEPouncey1999-51"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup> The Beatles continued their use of concrète on songs such as "<a href="/wiki/Strawberry_Fields_Forever" title="Strawberry Fields Forever">Strawberry Fields Forever</a>", "<a href="/wiki/Being_for_the_Benefit_of_Mr._Kite!" title="Being for the Benefit of Mr. Kite!">Being for the Benefit of Mr. Kite!</a>" and "<a href="/wiki/I_Am_the_Walrus" title="I Am the Walrus">I Am the Walrus</a>" (all 1967), before the approach climaxed with the pure musique concrète piece "<a href="/wiki/Revolution_9" title="Revolution 9">Revolution 9</a>" (1968); afterwards, <a href="/wiki/John_Lennon" title="John Lennon">John Lennon</a>, alongside wife and <a href="/wiki/Fluxus" title="Fluxus">Fluxus</a> artist <a href="/wiki/Yoko_Ono" title="Yoko Ono">Yoko Ono</a>, continued the approach on their solo works <i><a href="/wiki/Unfinished_Music_No._1:_Two_Virgins" title="Unfinished Music No. 1: Two Virgins">Two Virgins</a></i> (1968) and <i><a href="/wiki/Unfinished_Music_No._2:_Life_with_the_Lions" title="Unfinished Music No. 2: Life with the Lions">Life with the Lions</a></i> (1969).<sup id="cite_ref-FOOTNOTEPouncey1999_51-3" class="reference"><a href="#cite_note-FOOTNOTEPouncey1999-51"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="1970s">1970s</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Musique_concr%C3%A8te&action=edit&section=22" title="Edit section: 1970s"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The musique concrète elements present on <a href="/wiki/Pink_Floyd" title="Pink Floyd">Pink Floyd</a>'s best-selling album <i><a href="/wiki/The_Dark_Side_of_the_Moon" title="The Dark Side of the Moon">The Dark Side of the Moon</a></i> (1973), including the cash register sounds on "<a href="/wiki/Money_(Pink_Floyd_song)" title="Money (Pink Floyd song)">Money</a>", have been cited as notable examples of the practice's influence on popular music.<sup id="cite_ref-FOOTNOTEHuckvale2014118_52-0" class="reference"><a href="#cite_note-FOOTNOTEHuckvale2014118-52"><span class="cite-bracket">[</span>50<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEEdmondson20131,129_53-0" class="reference"><a href="#cite_note-FOOTNOTEEdmondson20131,129-53"><span class="cite-bracket">[</span>51<span class="cite-bracket">]</span></a></sup> Also in 1973, German band <a href="/wiki/Faust_(band)" title="Faust (band)">Faust</a> released <i><a href="/wiki/The_Faust_Tapes" title="The Faust Tapes">The Faust Tapes</a></i>; 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".<sup id="cite_ref-FOOTNOTEJones2002_54-0" class="reference"><a href="#cite_note-FOOTNOTEJones2002-54"><span class="cite-bracket">[</span>52<span class="cite-bracket">]</span></a></sup> Another German group, <a href="/wiki/Kraftwerk" title="Kraftwerk">Kraftwerk</a>, achieved a surprise hit in 1975 with "<a href="/wiki/Autobahn_(song)" title="Autobahn (song)">Autobahn</a>", which contained a "sampled collage of revving engines, horns and traffic noise". Stephen Dalton of <i><a href="/wiki/The_Times" title="The Times">The Times</a></i> wrote: "This droll blend of accessible pop and avant-garde musique concrete propelled Kraftwerk across America for three months".<sup id="cite_ref-FOOTNOTEDalton2005_55-0" class="reference"><a href="#cite_note-FOOTNOTEDalton2005-55"><span class="cite-bracket">[</span>53<span class="cite-bracket">]</span></a></sup> Steve Taylor writes that <a href="/wiki/Industrial_music" title="Industrial music">industrial</a> groups <a href="/wiki/Throbbing_Gristle" title="Throbbing Gristle">Throbbing Gristle</a> and <a href="/wiki/Cabaret_Voltaire_(band)" title="Cabaret Voltaire (band)">Cabaret Voltaire</a> continued the concrète tradition with collages constructed with tape manipulation and loops,<sup id="cite_ref-FOOTNOTETaylor200611_56-0" class="reference"><a href="#cite_note-FOOTNOTETaylor200611-56"><span class="cite-bracket">[</span>54<span class="cite-bracket">]</span></a></sup> while Ian Inglis credits <a href="/wiki/Brian_Eno" title="Brian Eno">Brian Eno</a> for introducing new sensibilities "about what could be in included in the canon of popular music", citing his 1970s <a href="/wiki/Ambient_music" title="Ambient music">ambient</a> work and the musique concrete collages on <i><a href="/wiki/My_Life_in_the_Bush_of_Ghosts_(album)" title="My Life in the Bush of Ghosts (album)">My Life in the Bush of Ghosts</a></i> (1981), which combines tape samples with synthesised sounds.<sup id="cite_ref-FOOTNOTEInglis2016115_57-0" class="reference"><a href="#cite_note-FOOTNOTEInglis2016115-57"><span class="cite-bracket">[</span>55<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="1980s_and_beyond">1980s and beyond</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Musique_concr%C3%A8te&action=edit&section=23" title="Edit section: 1980s and beyond"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>With the emergence of <a href="/wiki/Hip_hop_music" title="Hip hop music">hip hop music</a> in the 1980s, <a href="/wiki/Deejay" class="mw-redirect" title="Deejay">deejays</a> such as <a href="/wiki/Grandmaster_Flash" title="Grandmaster Flash">Grandmaster Flash</a> utitlised <a href="/wiki/Turntablism" title="Turntablism">turnables</a> to "[montage] in real time" with portions of rock, <a href="/wiki/Rhythm_and_blues" title="Rhythm and blues">R&B</a> and <a href="/wiki/Disco" title="Disco">disco</a> records, in order to create <a href="/wiki/Groove_(music)" title="Groove (music)">groove</a>-based music with percussive <a href="/wiki/Scratching" title="Scratching">scratching</a>; this provided a parallel breakthrough to collage artist <a href="/wiki/Christian_Marclay" title="Christian Marclay">Christian Marclay</a>'s use of vinyl records as a "noise-generating medium" in his own work.<sup id="cite_ref-FOOTNOTEReynolds2021_48-2" class="reference"><a href="#cite_note-FOOTNOTEReynolds2021-48"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup> Reynolds wrote: "As <a href="/wiki/Music_sampler" class="mw-redirect" title="Music sampler">sampling</a> technology grew more affordable, DJs-turned-producers like <a href="/wiki/Eric_B." title="Eric B.">Eric B.</a> developed hip-hop into a studio-based art. Although there was no direct line traceable between the two Pierres and <a href="/wiki/Marley_Marl" title="Marley Marl">Marley Marl</a>, it was as if <i>musique concrète</i> went truant from the academy and became street music, the soundtrack to block parties and driving."<sup id="cite_ref-FOOTNOTEReynolds2021_48-3" class="reference"><a href="#cite_note-FOOTNOTEReynolds2021-48"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup> He described this era of hip hop as "the most vibrant and flourishing descendant – albeit an indirect one – of <i>musique concrète</i>".<sup id="cite_ref-FOOTNOTEReynolds2021_48-4" class="reference"><a href="#cite_note-FOOTNOTEReynolds2021-48"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup> <i><a href="/wiki/Chicago_Reader" title="Chicago Reader">Chicago Reader</a>'</i>s J. Niimi writes that when <a href="/wiki/Public_Enemy" title="Public Enemy">Public Enemy</a> producers <a href="/wiki/The_Bomb_Squad" title="The Bomb Squad">the Bomb Squad</a> "unwittingly revisited" the concept of musique concrète with their sample-based music, they proved that the technique "worked great as pop".<sup id="cite_ref-FOOTNOTENiimi2005_58-0" class="reference"><a href="#cite_note-FOOTNOTENiimi2005-58"><span class="cite-bracket">[</span>56<span class="cite-bracket">]</span></a></sup> </p><p>In 1989, John Diliberto of <i>Music Technology</i> described the group <a href="/wiki/Art_of_Noise" title="Art of Noise">Art of Noise</a> 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 <a href="/wiki/Fairlight_CMI" title="Fairlight CMI">Fairlight CMIs</a> and <a href="/wiki/Akai_S1000" title="Akai S1000">Akai S1000</a> samplers and the skyscrapers of <a href="/wiki/Multitrack_recording" title="Multitrack recording">multitrack recording</a> to create their updated sound".<sup id="cite_ref-FOOTNOTEDiliberto1989_59-0" class="reference"><a href="#cite_note-FOOTNOTEDiliberto1989-59"><span class="cite-bracket">[</span>57<span class="cite-bracket">]</span></a></sup> As described by <a href="/wiki/Will_Hodgkinson" title="Will Hodgkinson">Will Hodgkinson</a>, Art of Noise brought classical and avant-garde sounds into pop by "[aiming] to emulate the musique concrète composers of the 1950s" via Fairlight samplers instead of tape.<sup id="cite_ref-FOOTNOTEHodgkinson2003_60-0" class="reference"><a href="#cite_note-FOOTNOTEHodgkinson2003-60"><span class="cite-bracket">[</span>58<span class="cite-bracket">]</span></a></sup> In a piece for <i><a href="/wiki/Pitchfork_(website)" title="Pitchfork (website)">Pitchfork</a></i>, musicians Matmos noted the use of musique concrète in later popular music, including the crying baby effects in <a href="/wiki/Aaliyah" title="Aaliyah">Aaliyah</a>'s "<a href="/wiki/Are_You_That_Somebody%3F" title="Are You That Somebody?">Are You That Somebody?</a>" (1998) or <a href="/wiki/Missy_Elliott" title="Missy Elliott">Missy Elliott</a>'s "<a href="/wiki/Work_It_(Missy_Elliott_song)" title="Work It (Missy Elliott song)">backwards chorus</a>", while noting that the aesthetic was arguably built upon by works including Art of Noise's "<a href="/wiki/Close_(to_the_Edit)" title="Close (to the Edit)">Close (to the Edit)</a>" (1984), <a href="/wiki/Meat_Beat_Manifesto" title="Meat Beat Manifesto">Meat Beat Manifesto</a>'s <i><a href="/wiki/Storm_the_Studio" title="Storm the Studio">Storm the Studio</a></i> (1989) and the work of Public Enemy, <a href="/wiki/Negativland" title="Negativland">Negativland</a> and <a href="/wiki/People_Like_Us_(musician)" title="People Like Us (musician)">People Like Us</a>, among other examples.<sup id="cite_ref-FOOTNOTEDaniels2003_61-0" class="reference"><a href="#cite_note-FOOTNOTEDaniels2003-61"><span class="cite-bracket">[</span>59<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Musique_concr%C3%A8te&action=edit&section=24" title="Edit section: See also"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a href="/wiki/Audium_(theater)" title="Audium (theater)">Audium</a></li> <li><a href="/wiki/Birmingham_ElectroAcoustic_Sound_Theatre" title="Birmingham ElectroAcoustic Sound Theatre">Birmingham ElectroAcoustic Sound Theatre</a></li> <li><a href="/wiki/Canadian_Electroacoustic_Community" title="Canadian Electroacoustic Community">Canadian Electroacoustic Community</a></li> <li><a href="/wiki/Computer_music" title="Computer music">Computer music</a></li> <li><a href="/wiki/Noise_music" title="Noise music">Noise music</a></li> <li><a href="/wiki/Sound_art" title="Sound art">Sound art</a></li> <li><a href="/wiki/Sound_collage" title="Sound collage">Sound collage</a></li> <li><a href="/wiki/Sound_design" title="Sound design">Sound design</a></li> <li><a href="/wiki/Sound_engineering" class="mw-redirect" title="Sound engineering">Sound engineering</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="Notes">Notes</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Musique_concr%C3%A8te&action=edit&section=25" title="Edit section: Notes"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap"><ol class="references"> <li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text"><a href="#CITEREFSchaeffer2012">Schaeffer (2012)</a>, p. xii: "[A] 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 <i>concret</i>/<i>concrète</i> itself. The word in French, which has nothing of the familiar meaning of "concrete" in English, is used throughout [<i>In Search of a Concrete Music</i>] 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 pioneering. Despite the risk of ambiguity, we decided to translate it with the English word <i>concrete</i> 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 ..."</span> </li> <li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text">Musique concrète has been referred to as a sound collage technique.<sup id="cite_ref-FOOTNOTEMcLeodDiCola201138_3-0" class="reference"><a href="#cite_note-FOOTNOTEMcLeodDiCola201138-3"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup></span> </li> </ol></div></div> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Musique_concr%C3%A8te&action=edit&section=26" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239543626"><div class="reflist reflist-columns references-column-width" style="column-width: 20em;"> <ol class="references"> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text"><a href="#CITEREFHolmes2008">Holmes (2008)</a>, p. 45</span> </li> <li id="cite_note-FOOTNOTEMcLeodDiCola201138-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEMcLeodDiCola201138_3-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFMcLeodDiCola2011">McLeod & DiCola 2011</a>, p. 38.</span> </li> <li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text"><a href="#CITEREFHolmes2008">Holmes (2008)</a>, pp. 45–56</span> </li> <li id="cite_note-ODM-6"><span class="mw-cite-backlink">^ <a href="#cite_ref-ODM_6-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-ODM_6-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFKennedyKennedyRutherford-Johnson2012">Kennedy, Kennedy & Rutherford-Johnson 2012</a></span> </li> <li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text"><a href="#CITEREFCœuroy1928">Cœuroy (1928)</a>, p. 162</span> </li> <li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text"><a href="#CITEREFBattier2007">Battier (2007)</a>, p. 190</span> </li> <li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text"><a href="#CITEREFBattier2007">Battier (2007)</a>, p. 193</span> </li> <li id="cite_note-FOOTNOTEKim-Cohen200910-10"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEKim-Cohen200910_10-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEKim-Cohen200910_10-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTEKim-Cohen200910_10-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFKim-Cohen2009">Kim-Cohen 2009</a>, p. 10.</span> </li> <li id="cite_note-FOOTNOTERoads2015248-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTERoads2015248_11-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFRoads2015">Roads 2015</a>, p. 248.</span> </li> <li id="cite_note-FOOTNOTEGoehr2008329-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEGoehr2008329_12-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFGoehr2008">Goehr 2008</a>, p. 329.</span> </li> <li id="cite_note-FOOTNOTELerner200956-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTELerner200956_13-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFLerner2009">Lerner 2009</a>, p. 56.</span> </li> <li id="cite_note-FOOTNOTERehdingDolan2021[[Category:Wikipedia_articles_needing_page_number_citations_from_March_2024]]<sup_class="noprint_Inline-Template_"_style="white-space:nowrap;">&#91;<i>[[Wikipedia:Citing_sources|<span_title="This_citation_requires_a_reference_to_the_specific_page_or_range_of_pages_in_which_the_material_appears.&#32;(March_2024)">page&nbsp;needed</span>]]</i>&#93;</sup>-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTERehdingDolan2021[[Category:Wikipedia_articles_needing_page_number_citations_from_March_2024]]<sup_class="noprint_Inline-Template_"_style="white-space:nowrap;">&#91;<i>[[Wikipedia:Citing_sources|<span_title="This_citation_requires_a_reference_to_the_specific_page_or_range_of_pages_in_which_the_material_appears.&#32;(March_2024)">page&nbsp;needed</span>]]</i>&#93;</sup>_14-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFRehdingDolan2021">Rehding & Dolan 2021</a>, p. <sup class="noprint Inline-Template" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citing_sources" title="Wikipedia:Citing sources"><span title="This citation requires a reference to the specific page or range of pages in which the material appears. (March 2024)">page needed</span></a></i>]</sup>.</span> </li> <li id="cite_note-Palombini-1993-p14-15"><span class="mw-cite-backlink">^ <a href="#cite_ref-Palombini-1993-p14_15-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Palombini-1993-p14_15-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Palombini-1993-p14_15-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFPalombini1993">Palombini (1993)</a>, p. 14</span> </li> <li id="cite_note-FOOTNOTESchaeffer1952ach._Journal_entry_of_March_1948-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTESchaeffer1952ach._Journal_entry_of_March_1948_16-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFSchaeffer1952a">Schaeffer 1952a</a>, ch. Journal entry of March 1948.</span> </li> <li id="cite_note-FOOTNOTEKane2014-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEKane2014_17-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKane2014">Kane 2014</a>.</span> </li> <li id="cite_note-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-18">^</a></b></span> <span class="reference-text"><a href="#CITEREFDack1994">Dack (1994)</a>, pp. 3–11</span> </li> <li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text"><a href="#CITEREFBattier2007">Battier (2007)</a>, p. 191</span> </li> <li id="cite_note-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-20">^</a></b></span> <span class="reference-text"><a href="#CITEREFHolmes2008">Holmes (2008)</a>, pp. 156–157</span> </li> <li id="cite_note-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-21">^</a></b></span> <span class="reference-text"><a href="#CITEREFChion1983">Chion (1983)</a></span> </li> <li id="cite_note-22"><span class="mw-cite-backlink"><b><a href="#cite_ref-22">^</a></b></span> <span class="reference-text"><a href="#CITEREFReydellet1996">Reydellet (1996)</a>, p. 10</span> </li> <li id="cite_note-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-23">^</a></b></span> <span class="reference-text"><a href="#CITEREFJames1981">James (1981)</a>, p. 79</span> </li> <li id="cite_note-24"><span class="mw-cite-backlink"><b><a href="#cite_ref-24">^</a></b></span> <span class="reference-text"><a href="#CITEREFDack2002">Dack (2002)</a></span> </li> <li id="cite_note-25"><span class="mw-cite-backlink"><b><a href="#cite_ref-25">^</a></b></span> <span class="reference-text"><a href="#CITEREFLange2009">Lange (2009)</a>, p. 173</span> </li> <li id="cite_note-Palombini-1999-26"><span class="mw-cite-backlink">^ <a href="#cite_ref-Palombini-1999_26-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Palombini-1999_26-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFPalombini1999">Palombini (1999)</a></span> </li> <li id="cite_note-Gayou-2007a-p206-27"><span class="mw-cite-backlink">^ <a href="#cite_ref-Gayou-2007a-p206_27-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Gayou-2007a-p206_27-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFGayou2007a">Gayou (2007a)</a>, p. 206</span> </li> <li id="cite_note-Gayou-2007a-p207-28"><span class="mw-cite-backlink">^ <a href="#cite_ref-Gayou-2007a-p207_28-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Gayou-2007a-p207_28-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Gayou-2007a-p207_28-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Gayou-2007a-p207_28-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFGayou2007a">Gayou (2007a)</a>, p. 207</span> </li> <li id="cite_note-29"><span class="mw-cite-backlink"><b><a href="#cite_ref-29">^</a></b></span> <span class="reference-text"><a href="#CITEREFSchaefferReibel1967">Schaeffer & Reibel (1967)</a>, p. 9</span> </li> <li id="cite_note-30"><span class="mw-cite-backlink"><b><a href="#cite_ref-30">^</a></b></span> <span class="reference-text"><a href="#CITEREFPeignot1960">Peignot (1960)</a>, pp. 111–123</span> </li> <li id="cite_note-31"><span class="mw-cite-backlink"><b><a href="#cite_ref-31">^</a></b></span> <span class="reference-text"><a href="#CITEREFSchaeffer1966">Schaeffer (1966)</a>, p. 91</span> </li> <li id="cite_note-Teruggi-2007-pneeded-32"><span class="mw-cite-backlink">^ <a href="#cite_ref-Teruggi-2007-pneeded_32-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Teruggi-2007-pneeded_32-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFTeruggi2007">Teruggi (2007)</a><sup class="noprint Inline-Template" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citing_sources" title="Wikipedia:Citing sources"><span title="This citation requires a reference to the specific page or range of pages in which the material appears. (September 2014)">page needed</span></a></i>]</sup></span> </li> <li id="cite_note-Teruggi-2007-p216-33"><span class="mw-cite-backlink"><b><a href="#cite_ref-Teruggi-2007-p216_33-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFTeruggi2007">Teruggi (2007)</a>, p. 216</span> </li> <li id="cite_note-Teruggi-2007-p217-34"><span class="mw-cite-backlink"><b><a href="#cite_ref-Teruggi-2007-p217_34-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFTeruggi2007">Teruggi (2007)</a>, p. 217</span> </li> <li id="cite_note-Poullin-1999-35"><span class="mw-cite-backlink">^ <a href="#cite_ref-Poullin-1999_35-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Poullin-1999_35-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Poullin-1999_35-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFPoullin1999">Poullin (1999)</a></span> </li> <li id="cite_note-Teruggi-2007-p218-36"><span class="mw-cite-backlink">^ <a href="#cite_ref-Teruggi-2007-p218_36-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Teruggi-2007-p218_36-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Teruggi-2007-p218_36-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Teruggi-2007-p218_36-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Teruggi-2007-p218_36-4"><sup><i><b>e</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFTeruggi2007">Teruggi (2007)</a>, p. 218</span> </li> <li id="cite_note-37"><span class="mw-cite-backlink"><b><a href="#cite_ref-37">^</a></b></span> <span class="reference-text"><a href="#CITEREFPoullin1957">Poullin (1957)</a></span> </li> <li id="cite_note-38"><span class="mw-cite-backlink"><b><a href="#cite_ref-38">^</a></b></span> <span class="reference-text"><a href="#CITEREFGradenwitz1953">Gradenwitz (1953)</a></span> </li> <li id="cite_note-39"><span class="mw-cite-backlink"><b><a href="#cite_ref-39">^</a></b></span> <span class="reference-text"><a href="#CITEREFGayou2007a">Gayou (2007a)</a>, p. 208</span> </li> <li id="cite_note-Battier-2007-p200-40"><span class="mw-cite-backlink">^ <a href="#cite_ref-Battier-2007-p200_40-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Battier-2007-p200_40-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFBattier2007">Battier (2007)</a>, p. 200</span> </li> <li id="cite_note-Teruggi-2007-p220-41"><span class="mw-cite-backlink">^ <a href="#cite_ref-Teruggi-2007-p220_41-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Teruggi-2007-p220_41-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFTeruggi2007">Teruggi (2007)</a>, p. 220</span> </li> <li id="cite_note-Teruggi-2007-p219-42"><span class="mw-cite-backlink">^ <a href="#cite_ref-Teruggi-2007-p219_42-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Teruggi-2007-p219_42-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFTeruggi2007">Teruggi (2007)</a>, p. 219</span> </li> <li id="cite_note-Teruggi-2007-p219-220-43"><span class="mw-cite-backlink"><b><a href="#cite_ref-Teruggi-2007-p219-220_43-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFTeruggi2007">Teruggi (2007)</a>, pp. 219–220</span> </li> <li id="cite_note-Anon-2010-44"><span class="mw-cite-backlink">^ <a href="#cite_ref-Anon-2010_44-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Anon-2010_44-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFAnon.2010">Anon. (2010)</a></span> </li> <li id="cite_note-Gayou-2007a-p209-45"><span class="mw-cite-backlink">^ <a href="#cite_ref-Gayou-2007a-p209_45-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Gayou-2007a-p209_45-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFGayou2007a">Gayou (2007a)</a>, p. 209</span> </li> <li id="cite_note-46"><span class="mw-cite-backlink"><b><a href="#cite_ref-46">^</a></b></span> <span class="reference-text"><a href="#CITEREFAustinSmalley2000">Austin & Smalley (2000)</a>, pp. 10–21</span> </li> <li id="cite_note-47"><span class="mw-cite-backlink"><b><a href="#cite_ref-47">^</a></b></span> <span class="reference-text"><a href="#CITEREFBayle1993">Bayle (1993)</a>, p. 44</span> </li> <li id="cite_note-FOOTNOTEReynolds2021-48"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEReynolds2021_48-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEReynolds2021_48-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTEReynolds2021_48-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-FOOTNOTEReynolds2021_48-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-FOOTNOTEReynolds2021_48-4"><sup><i><b>e</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFReynolds2021">Reynolds 2021</a>.</span> </li> <li id="cite_note-FOOTNOTEAlbiez2017-49"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEAlbiez2017_49-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFAlbiez2017">Albiez 2017</a>.</span> </li> <li id="cite_note-FOOTNOTEGendron2002-50"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEGendron2002_50-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFGendron2002">Gendron 2002</a>.</span> </li> <li id="cite_note-FOOTNOTEPouncey1999-51"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEPouncey1999_51-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEPouncey1999_51-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTEPouncey1999_51-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-FOOTNOTEPouncey1999_51-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFPouncey1999">Pouncey 1999</a>.</span> </li> <li id="cite_note-FOOTNOTEHuckvale2014118-52"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEHuckvale2014118_52-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFHuckvale2014">Huckvale 2014</a>, p. 118.</span> </li> <li id="cite_note-FOOTNOTEEdmondson20131,129-53"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEEdmondson20131,129_53-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFEdmondson2013">Edmondson 2013</a>, p. 1,129.</span> </li> <li id="cite_note-FOOTNOTEJones2002-54"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEJones2002_54-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFJones2002">Jones 2002</a>.</span> </li> <li id="cite_note-FOOTNOTEDalton2005-55"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEDalton2005_55-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFDalton2005">Dalton 2005</a>.</span> </li> <li id="cite_note-FOOTNOTETaylor200611-56"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTETaylor200611_56-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFTaylor2006">Taylor 2006</a>, p. 11.</span> </li> <li id="cite_note-FOOTNOTEInglis2016115-57"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEInglis2016115_57-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFInglis2016">Inglis 2016</a>, p. 115.</span> </li> <li id="cite_note-FOOTNOTENiimi2005-58"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTENiimi2005_58-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFNiimi2005">Niimi 2005</a>.</span> </li> <li id="cite_note-FOOTNOTEDiliberto1989-59"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEDiliberto1989_59-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFDiliberto1989">Diliberto 1989</a>.</span> </li> <li id="cite_note-FOOTNOTEHodgkinson2003-60"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEHodgkinson2003_60-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFHodgkinson2003">Hodgkinson 2003</a>.</span> </li> <li id="cite_note-FOOTNOTEDaniels2003-61"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEDaniels2003_61-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFDaniels2003">Daniels 2003</a>.</span> </li> </ol></div> <div class="mw-heading mw-heading3"><h3 id="Sources">Sources</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Musique_concr%C3%A8te&action=edit&section=27" title="Edit section: Sources"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239549316">.mw-parser-output .refbegin{margin-bottom:0.5em}.mw-parser-output .refbegin-hanging-indents>ul{margin-left:0}.mw-parser-output .refbegin-hanging-indents>ul>li{margin-left:0;padding-left:3.2em;text-indent:-3.2em}.mw-parser-output .refbegin-hanging-indents ul,.mw-parser-output .refbegin-hanging-indents ul li{list-style:none}@media(max-width:720px){.mw-parser-output .refbegin-hanging-indents>ul>li{padding-left:1.6em;text-indent:-1.6em}}.mw-parser-output .refbegin-columns{margin-top:0.3em}.mw-parser-output .refbegin-columns ul{margin-top:0}.mw-parser-output .refbegin-columns li{page-break-inside:avoid;break-inside:avoid-column}@media screen{.mw-parser-output .refbegin{font-size:90%}}</style><div class="refbegin refbegin-hanging-indents refbegin-columns references-column-width" style="column-width: 30em"> <ul><li><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFAlbiez2017" class="citation book cs1">Albiez, Sean (2017). "Avant-pop". In Horn, David (ed.). <i>Bloomsbury Encyclopedia of Popular Music of the World Vol. XI: Genres: Europe</i>. 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Oxford University Press. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1093%2Facref%2F9780199578108.001.0001">10.1093/acref/9780199578108.001.0001</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-199-57810-8" title="Special:BookSources/978-0-199-57810-8"><bdi>978-0-199-57810-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Musique+concr%C3%A8te&rft.btitle=The+Oxford+Dictionary+of+Music&rft.edition=6th&rft.pub=Oxford+University+Press&rft.date=2012&rft_id=info%3Adoi%2F10.1093%2Facref%2F9780199578108.001.0001&rft.isbn=978-0-199-57810-8&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusique+concr%C3%A8te" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><cite class="citation wikicite" id="CITEREFLange2009">Lange, A. (2009). "Musique concrète and Early Electronic Music". In <i>The Wire Primers: A Guide To Modern Music</i>, edited by Rob Young, 173–180. London: Verso.</cite></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLerner2009" class="citation book cs1">Lerner, Neil, ed. (2009). <i>Music in the Horror Film: Listening to Fear</i>. New York: Routledge. p. 56. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-135-28044-4" title="Special:BookSources/978-1-135-28044-4"><bdi>978-1-135-28044-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Music+in+the+Horror+Film%3A+Listening+to+Fear&rft.place=New+York&rft.pages=56&rft.pub=Routledge&rft.date=2009&rft.isbn=978-1-135-28044-4&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusique+concr%C3%A8te" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMcLeodDiCola2011" class="citation book cs1"><a href="/wiki/Kembrew_McLeod" title="Kembrew McLeod">McLeod, Kembrew</a>; DiCola, Peter (2011). "Legal and Cultural History of Sound Collage". <i>Creative License: The Law and Culture of Digital Sampling</i>. Durham, NC: Duke University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-822-34875-7" title="Special:BookSources/978-0-822-34875-7"><bdi>978-0-822-34875-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Legal+and+Cultural+History+of+Sound+Collage&rft.btitle=Creative+License%3A+The+Law+and+Culture+of+Digital+Sampling&rft.place=Durham%2C+NC&rft.pub=Duke+University+Press&rft.date=2011&rft.isbn=978-0-822-34875-7&rft.aulast=McLeod&rft.aufirst=Kembrew&rft.au=DiCola%2C+Peter&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusique+concr%C3%A8te" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFNiimi2005" class="citation web cs1">Niimi, J. (2005-12-29). <a rel="nofollow" class="external text" href="https://chicagoreader.com/arts-culture/diplo-books/">"Diplo, Books"</a>. <i>Chicago Reader</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2023-02-23</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Chicago+Reader&rft.atitle=Diplo%2C+Books&rft.date=2005-12-29&rft.aulast=Niimi&rft.aufirst=J.&rft_id=https%3A%2F%2Fchicagoreader.com%2Farts-culture%2Fdiplo-books%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusique+concr%C3%A8te" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPalombini1993" class="citation journal cs1">Palombini, Carlos (1993). "Machine Songs V: Pierre Schaeffer: From Research into Noises to Experimental Music". <i>Computer Music Journal</i>. <b>17</b> (3): 14. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/3680939">3680939</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Computer+Music+Journal&rft.atitle=Machine+Songs+V%3A+Pierre+Schaeffer%3A+From+Research+into+Noises+to+Experimental+Music&rft.volume=17&rft.issue=3&rft.pages=14&rft.date=1993&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F3680939%23id-name%3DJSTOR&rft.aulast=Palombini&rft.aufirst=Carlos&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusique+concr%C3%A8te" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><cite class="citation wikicite" id="CITEREFPalombini1999">Palombini, Carlos (1999). "<a rel="nofollow" class="external text" href="http://www.rem.ufpr.br/_REM/REMv4/vol4/arti-palombini.htm">Musique Concrète Revisited</a>". <i>Electronic Musicological Review</i> 4 (June):<sup class="noprint Inline-Template" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citing_sources" title="Wikipedia:Citing sources"><span title="This citation requires a reference to the specific page or range of pages in which the material appears. (September 2009)">page needed</span></a></i>]</sup>.</cite></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPeignot1960" class="citation journal cs1 cs1-prop-foreign-lang-source">Peignot, Jerome (1960). "De la musique concrète à l'acousmatique". <i>Esprit</i> (in French). <b>280</b> (1): 111–120. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0014-0759">0014-0759</a>. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/24255077">24255077</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Esprit&rft.atitle=De+la+musique+concr%C3%A8te+%C3%A0+l%27acousmatique&rft.volume=280&rft.issue=1&rft.pages=111-120&rft.date=1960&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F24255077%23id-name%3DJSTOR&rft.issn=0014-0759&rft.aulast=Peignot&rft.aufirst=Jerome&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusique+concr%C3%A8te" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><cite class="citation wikicite" id="CITEREFPoullin1957">Poullin, Jacques (1957) <i>The Application of Recording Techniques to the Production of New Musical Materials and Forms. Applications to 'Musique Concrete<span class="nowrap" style="padding-left:0.1em;">'</span></i>. National Research Council of Canada Technical Translation TT-646, translated by D. A. Sinclair from the original in <i>L'Onde Électrique</i> 34, no. 324 (1954): 282–291. Ottawa: National Research Council of Canada.</cite></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><cite class="citation wikicite" id="CITEREFPoullin1999">Poullin, Jacques (1999). "<a rel="nofollow" class="external text" href="http://www.ars-sonora.org/html/numeros/numero09/09f.htm">L'apport des techniques d'enregistrement dans la fabrication de matieres et de formes musicales nouvelles: applications à la musique concrete</a>". <i>Ars Sonora</i>, no. 9. [this appears to be the text of the original 1954 article]</cite></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPouncey1999" class="citation magazine cs1"><a href="/wiki/Edwin_Pouncey" class="mw-redirect" title="Edwin Pouncey">Pouncey, Edwin</a> (July 1999). <a rel="nofollow" class="external text" href="https://www.rocksbackpages.com/Library/Article/undercurrents-7-fables-of-the-deconstruction">"Undercurrents #7: Fables of the Deconstruction"</a>. <i><a href="/wiki/The_Wire_(magazine)" title="The Wire (magazine)">The Wire</a></i><span class="reference-accessdate">. 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Oxford University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-190-63722-4" title="Special:BookSources/978-0-190-63722-4"><bdi>978-0-190-63722-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Oxford+Handbook+of+Timbre&rft.pub=Oxford+University+Press&rft.date=2021&rft.isbn=978-0-190-63722-4&rft.aulast=Rehding&rft.aufirst=Alexander&rft.au=Dolan%2C+Emily&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusique+concr%C3%A8te" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRoads2015" class="citation book cs1">Roads, Curtis (2015). <i>Composing Electronic Music: A New Aesthetic</i>. Oxford University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-195-37324-0" title="Special:BookSources/978-0-195-37324-0"><bdi>978-0-195-37324-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Composing+Electronic+Music%3A+A+New+Aesthetic&rft.pub=Oxford+University+Press&rft.date=2015&rft.isbn=978-0-195-37324-0&rft.aulast=Roads&rft.aufirst=Curtis&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusique+concr%C3%A8te" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFReydellet1996" class="citation journal cs1">Reydellet, Jean de (1996). "Pierre Schaeffer, 1910-1995: The Founder of "Musique Concrète"<span class="cs1-kern-right"></span>". <i>Computer Music Journal</i>. <b>20</b> (2): 10–11. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0148-9267">0148-9267</a>. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/3681324">3681324</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Computer+Music+Journal&rft.atitle=Pierre+Schaeffer%2C+1910-1995%3A+The+Founder+of+%22Musique+Concr%C3%A8te%22&rft.volume=20&rft.issue=2&rft.pages=10-11&rft.date=1996&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F3681324%23id-name%3DJSTOR&rft.issn=0148-9267&rft.aulast=Reydellet&rft.aufirst=Jean+de&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusique+concr%C3%A8te" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFReynolds2021" class="citation web cs1"><a href="/wiki/Simon_Reynolds" title="Simon Reynolds">Reynolds, Simon</a> (2021-05-15). <a rel="nofollow" class="external text" href="https://tidal.com/magazine/article/musique-concrete/1-78792">"Tapeheads: The History and Legacy of Musique Concrète"</a>. <i><a href="/wiki/Tidal_(service)" title="Tidal (service)">Tidal</a></i><span class="reference-accessdate">. Retrieved <span class="nowrap">2023-02-21</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Tidal&rft.atitle=Tapeheads%3A+The+History+and+Legacy+of+Musique+Concr%C3%A8te&rft.date=2021-05-15&rft.aulast=Reynolds&rft.aufirst=Simon&rft_id=https%3A%2F%2Ftidal.com%2Fmagazine%2Farticle%2Fmusique-concrete%2F1-78792&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusique+concr%C3%A8te" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSchaeffer1952a" class="citation book cs1"><a href="/wiki/Pierre_Schaeffer" title="Pierre Schaeffer">Schaeffer, Pierre</a> (1952a). <i>A la recherche d'une musique concrète</i>. Paris: Éditions du Seuil.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=A+la+recherche+d%27une+musique+concr%C3%A8te&rft.place=Paris&rft.pub=%C3%89ditions+du+Seuil&rft.date=1952&rft.aulast=Schaeffer&rft.aufirst=Pierre&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusique+concr%C3%A8te" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSchaeffer1966" class="citation book cs1 cs1-prop-foreign-lang-source">——— (1966). <i>Traité des objets musicaux</i> (in French). Paris: Le Seuil.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Trait%C3%A9+des+objets+musicaux&rft.place=Paris&rft.pub=Le+Seuil&rft.date=1966&rft.aulast=Schaeffer&rft.aufirst=Pierre&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusique+concr%C3%A8te" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSchaeffer2012" class="citation book cs1">——— (2012) [1952]. "Translators' Note". <i>In Search of a Concrete Music</i>. Translated by North, Christine; Dack, John. University of California Press. pp. ix–xiv. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-520-26574-5" title="Special:BookSources/978-0-520-26574-5"><bdi>978-0-520-26574-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Translators%27+Note&rft.btitle=In+Search+of+a+Concrete+Music&rft.pages=ix-xiv&rft.pub=University+of+California+Press&rft.date=2012&rft.isbn=978-0-520-26574-5&rft.aulast=Schaeffer&rft.aufirst=Pierre&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusique+concr%C3%A8te" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><cite class="citation wikicite" id="CITEREFSchaefferReibel1967">Schaeffer, Pierre, and Guy Reibel (1967). <i>Solfege de l'objet sonore</i>, reprint edition 1998, with a preface by Daniel Teruggi, Guy Reibel, and Beatriz Ferreyra. Paris: Coedition Ina-Publications.</cite></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTaylor2006" class="citation book cs1">Taylor, Steve (2006). <i>The A to X of Alternative Music</i>. London: Bloomsbury. p. 11. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8264-8217-4" title="Special:BookSources/978-0-8264-8217-4"><bdi>978-0-8264-8217-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+A+to+X+of+Alternative+Music&rft.place=London&rft.pages=11&rft.pub=Bloomsbury&rft.date=2006&rft.isbn=978-0-8264-8217-4&rft.aulast=Taylor&rft.aufirst=Steve&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusique+concr%C3%A8te" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1041539562"><cite class="citation wikicite" id="CITEREFTeruggi2007">Teruggi, Daniel (2007). "Technology and Musique Concrete: The Technical Developments of the Groupe de Recherches Musicales and Their Implication in Musical Composition". <i>Organised Sound</i> 12, no. 3:213–231.</cite></li></ul> </div> <div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Musique_concr%C3%A8te&action=edit&section=28" title="Edit section: Further reading"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1184024115">.mw-parser-output .div-col{margin-top:0.3em;column-width:30em}.mw-parser-output .div-col-small{font-size:90%}.mw-parser-output .div-col-rules{column-rule:1px solid #aaa}.mw-parser-output .div-col dl,.mw-parser-output .div-col ol,.mw-parser-output .div-col ul{margin-top:0}.mw-parser-output .div-col li,.mw-parser-output .div-col dd{page-break-inside:avoid;break-inside:avoid-column}</style><div class="div-col" style="column-width: 45em;"> <ul><li>Dack, John (1993). "La Recherche de l'Instrument Perdu". <i>Electroacoustic Music: Journal of the Electroacoustic Music Association of Great Britain</i> 7:<sup class="noprint Inline-Template" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citing_sources" title="Wikipedia:Citing sources"><span title="This citation requires a reference to the specific page or range of pages in which the material appears. (January 2010)">page needed</span></a></i>]</sup>.</li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation book cs1">Dwyer, Terence (1971). <i>Composing with Tape Recorders: Musique Concrète for Beginners</i>. London and New York: Oxford University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-19-311912-9" title="Special:BookSources/0-19-311912-9"><bdi>0-19-311912-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Composing+with+Tape+Recorders%3A+Musique+Concr%C3%A8te+for+Beginners&rft.place=London+and+New+York&rft.pub=Oxford+University+Press&rft.date=1971&rft.isbn=0-19-311912-9&rft.aulast=Dwyer&rft.aufirst=Terence&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusique+concr%C3%A8te" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation book cs1">Emmerson, Simon (2007). <i>Living Electronic Music</i>. Aldershot (Hants.), Burlington (Vermont): Ashgate.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Living+Electronic+Music&rft.place=Aldershot+%28Hants.%29%2C+Burlington+%28Vermont%29&rft.pub=Ashgate&rft.date=2007&rft.aulast=Emmerson&rft.aufirst=Simon&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusique+concr%C3%A8te" class="Z3988"></span> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7546-5546-6" title="Special:BookSources/0-7546-5546-6">0-7546-5546-6</a> (cloth) <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7546-5548-2" title="Special:BookSources/0-7546-5548-2">0-7546-5548-2</a> (pbk).</li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation book cs1">Gayou, Evelyne (2007b). <i>GRM Le Groupe de Recherches Musicales, Cinquante ans d'histoire</i>. Paris: Fayard. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-2-213-63561-3" title="Special:BookSources/978-2-213-63561-3"><bdi>978-2-213-63561-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=GRM+Le+Groupe+de+Recherches+Musicales%2C+Cinquante+ans+d%27histoire&rft.place=Paris&rft.pub=Fayard&rft.date=2007&rft.isbn=978-2-213-63561-3&rft.aulast=Gayou&rft.aufirst=Evelyne&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusique+concr%C3%A8te" class="Z3988"></span></li> <li>Jaffrennou, Pierre-Alain (1998). "De la scénographie sonore". In <i>Le son et l'espace: 1ères Rencontres musicales pluridisciplinaires, Lyon, 1995</i>, edited by Hugues Genevois and Yann Orlarey, 143–156. Musique et sciences. Lyon: GRAME & Aléas. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/2-908016-96-6" title="Special:BookSources/2-908016-96-6">2-908016-96-6</a>.</li> <li>Kane, Brian (2007). "L'Objet Sonore Maintenant: Pierre Schaeffer, Sound Objects and the Phenomenological Reduction". <i>Organised Sound</i>, 12, no. 1:15–24.</li> <li>Manning, Peter (1985). <i>Electronic and Computer Music</i>. Oxford: Clarendon Press; New York: Oxford University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-19-311918-8" title="Special:BookSources/0-19-311918-8">0-19-311918-8</a>.</li> <li><a href="/wiki/Michael_Nyman" title="Michael Nyman">Nyman, Michael</a> (1999), <i>Experimental Music: Cage and Beyond</i>, 2nd edition. Cambridge and New York: Cambridge University Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-521-65297-1" title="Special:BookSources/978-0-521-65297-1">978-0-521-65297-1</a> (cloth); <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-521-65383-1" title="Special:BookSources/978-0-521-65383-1">978-0-521-65383-1</a> (pbk).</li> <li>Palombini, Carlos (1998). "<a rel="nofollow" class="external text" href="http://www.rem.ufpr.br/_REM/REMv3.1/vol3/Schaefferi.html">Pierre Schaeffer, 1953: 'Towards an Experimental Music', An Exegesis of Schaeffer's 'Vers une musique expérimentale'</a>". <i><a href="/wiki/Music_%26_Letters" title="Music & Letters">Music & Letters</a></i> 74, no. 4:542–557.</li> <li>Schaeffer, Pierre (1952b). "L'objet musical". <i>La Revue Musicale: L'œuvre du XXe siècle</i>, no. 212: 65–76.</li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation book cs1">Schaeffer, Pierre (1967). <i>La musique concrète</i>. Paris: Presses Universitaires de France.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=La+musique+concr%C3%A8te&rft.place=Paris&rft.pub=Presses+Universitaires+de+France&rft.date=1967&rft.aulast=Schaeffer&rft.aufirst=Pierre&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusique+concr%C3%A8te" class="Z3988"></span></li> <li>Vella, Richard (2000). <i>Musical Environments: A Manual for Listening, Improvising and Composing</i>, with additional topics by Andy Arthurs. Sydney: Currency Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-86819-544-5" title="Special:BookSources/978-0-86819-544-5">978-0-86819-544-5</a>. Reprinted as "Sounds in Space: Sounds in Time: Projects in Listening, Improvising and Composing". London: Boosey & Hawkes, 2003. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-85162-429-7" title="Special:BookSources/978-0-85162-429-7">978-0-85162-429-7</a>.</li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation encyclopaedia cs1"><a rel="nofollow" class="external text" href="https://www.britannica.com/art/musique-concrete">"Musique concrète"</a>. <i><a href="/wiki/Encyclop%C3%A6dia_Britannica" title="Encyclopædia Britannica">Encyclopædia Britannica</a></i>. 1998<span class="reference-accessdate">. Retrieved <span class="nowrap">2019-02-23</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Musique+concr%C3%A8te&rft.btitle=Encyclop%C3%A6dia+Britannica&rft.date=1998&rft_id=https%3A%2F%2Fwww.britannica.com%2Fart%2Fmusique-concrete&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMusique+concr%C3%A8te" class="Z3988"></span></li></ul> </div> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Musique_concr%C3%A8te&action=edit&section=29" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1235681985">.mw-parser-output .side-box{margin:4px 0;box-sizing:border-box;border:1px solid #aaa;font-size:88%;line-height:1.25em;background-color:var(--background-color-interactive-subtle,#f8f9fa);display:flow-root}.mw-parser-output .side-box-abovebelow,.mw-parser-output .side-box-text{padding:0.25em 0.9em}.mw-parser-output .side-box-image{padding:2px 0 2px 0.9em;text-align:center}.mw-parser-output .side-box-imageright{padding:2px 0.9em 2px 0;text-align:center}@media(min-width:500px){.mw-parser-output .side-box-flex{display:flex;align-items:center}.mw-parser-output .side-box-text{flex:1;min-width:0}}@media(min-width:720px){.mw-parser-output .side-box{width:238px}.mw-parser-output .side-box-right{clear:right;float:right;margin-left:1em}.mw-parser-output .side-box-left{margin-right:1em}}</style><style data-mw-deduplicate="TemplateStyles:r1237033735">@media print{body.ns-0 .mw-parser-output .sistersitebox{display:none!important}}@media screen{html.skin-theme-clientpref-night .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}</style><div class="side-box side-box-right plainlinks sistersitebox"><style data-mw-deduplicate="TemplateStyles:r1126788409">.mw-parser-output .plainlist ol,.mw-parser-output .plainlist ul{line-height:inherit;list-style:none;margin:0;padding:0}.mw-parser-output .plainlist ol li,.mw-parser-output .plainlist ul li{margin-bottom:0}</style> <div class="side-box-flex"> <div class="side-box-image"><span class="noviewer" typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png" decoding="async" width="30" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/45px-Commons-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/59px-Commons-logo.svg.png 2x" data-file-width="1024" data-file-height="1376" /></span></span></div> <div class="side-box-text plainlist">Wikimedia Commons has media related to <span style="font-weight: bold; font-style: italic;"><a href="https://commons.wikimedia.org/wiki/Category:Musique_concr%C3%A8te" class="extiw" title="commons:Category:Musique concrète">Musique concrète</a></span>.</div></div> </div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1235681985"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1237033735"><div class="side-box side-box-right plainlinks sistersitebox"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1126788409"> <div class="side-box-flex"> <div class="side-box-image"><span class="noviewer" typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/9/99/Wiktionary-logo-en-v2.svg/40px-Wiktionary-logo-en-v2.svg.png" decoding="async" width="40" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/99/Wiktionary-logo-en-v2.svg/60px-Wiktionary-logo-en-v2.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/99/Wiktionary-logo-en-v2.svg/80px-Wiktionary-logo-en-v2.svg.png 2x" data-file-width="512" data-file-height="512" /></span></span></div> <div class="side-box-text plainlist">Look up <i><b><a href="https://en.wiktionary.org/wiki/musique_concr%C3%A8te" class="extiw" title="wiktionary:musique concrète">musique concrète</a></b></i> in Wiktionary, the free dictionary.</div></div> </div> <ul><li><a rel="nofollow" class="external text" href="https://inagrm.com/fr">INA-GRM website</a></li> <li><a rel="nofollow" class="external text" href="https://www.allmusic.com/style/ma0000012319">Avant-Garde » Modern Composition » Musique Concrète</a> at <a href="/wiki/AllMusic_(identifier)" class="mw-redirect" title="AllMusic (identifier)">AllMusic</a></li> <li><a rel="nofollow" class="external text" href="http://www.magison.org/">Home page</a>, François Bayle</li> <li><a rel="nofollow" class="external text" href="http://www.michelchion.com">Michel Chion official site</a></li> <li><a rel="nofollow" class="external text" href="http://www.ems-network.org/">Electroacoustic Music Studies Network</a></li> <li>Bernard Parmegiani's personal <a rel="nofollow" class="external text" href="https://web.archive.org/web/20070304193910/http://www.parmegiani.fr/">website</a></li> <li>INA-GRM 31st season (2008/2009). Multiphonies program of <a rel="nofollow" class="external text" href="https://web.archive.org/web/20090521074230/http://www.ina.fr/sites/ina/medias/upload/grm/lettre/programme_multiphonies_2009.pdf">events</a></li> <li><a rel="nofollow" class="external text" href="https://www.cambridge.org/core/journals/organised-sound"><i>Organised Sound</i></a>, an international journal of music and technology</li> <li><a rel="nofollow" class="external text" href="https://www.audium.org/">Audium</a>, a theatre of sound-sculptured space</li></ul> <div class="navbox-styles"><style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl 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(art)">Constructivism</a></li> <li><a href="/wiki/Proto-Cubism" title="Proto-Cubism">Proto-Cubism</a></li> <li><a href="/wiki/Cubism" title="Cubism">Cubism</a></li> <li><a href="/wiki/Functionalism_(architecture)" title="Functionalism (architecture)">Functionalism</a> <ul><li><a href="/wiki/Bauhaus" title="Bauhaus">Bauhaus</a></li></ul></li> <li><a href="/wiki/Grosvenor_School" class="mw-redirect" title="Grosvenor School">Grosvenor School</a></li> <li><a href="/wiki/Dev%C4%9Btsil" title="Devětsil">Devětsil</a></li> <li><a href="/wiki/Divisionism" title="Divisionism">Divisionism</a></li> <li><a href="/wiki/Fauvism" title="Fauvism">Fauvism</a></li> <li><a href="/wiki/Impressionism" title="Impressionism">Impressionism</a></li> <li><a href="/wiki/Neo-Impressionism" title="Neo-Impressionism">Neo-Impressionism</a></li> <li><a href="/wiki/Post-Impressionism" title="Post-Impressionism">Post-Impressionism</a></li> <li><a href="/wiki/Color_Field" class="mw-redirect" title="Color Field">Color Field</a></li> <li><a href="/wiki/Incoherents" title="Incoherents">Incoherents</a></li> <li><a href="/wiki/Lyrical_abstraction" title="Lyrical abstraction">Lyrical Abstraction</a></li> <li><a href="/wiki/Mail_art" title="Mail art">Mail art</a></li> <li><a href="/wiki/Minimalism_(visual_arts)" title="Minimalism (visual arts)">Minimalism</a></li> <li><a href="/wiki/Mir_iskusstva" title="Mir iskusstva">Mir iskusstva</a></li> <li><a href="/wiki/Multidimensional_art" title="Multidimensional art">Multidimensional art</a></li> <li><a href="/wiki/Neoplasticism" title="Neoplasticism">Neoplasticism</a> <ul><li><a href="/wiki/De_Stijl" title="De Stijl">De Stijl</a></li></ul></li> <li><a href="/wiki/Neue_Slowenische_Kunst" title="Neue Slowenische Kunst">Neue Slowenische Kunst</a></li> <li><a href="/wiki/Soviet_Nonconformist_Art" class="mw-redirect" title="Soviet Nonconformist Art">Nonconformism</a></li> <li><a href="/wiki/Nouveau_r%C3%A9alisme" title="Nouveau réalisme">Nouveau réalisme</a></li> <li><a href="/wiki/Orphism_(art)" title="Orphism (art)">Orphism</a></li> <li><a href="/wiki/Performance_art" title="Performance art">Performance art</a></li> <li><a href="/wiki/Pop_art" title="Pop art">Pop art</a></li> <li><a href="/wiki/Process_art" title="Process art">Process art</a></li> <li><a href="/wiki/Purism" title="Purism">Purism</a></li> <li><a href="/wiki/Rayonism" title="Rayonism">Rayonism</a></li> <li><a href="/wiki/Suprematism" title="Suprematism">Suprematism</a></li> <li><a href="/wiki/Temporary_art" class="mw-redirect" title="Temporary art">Temporary art</a></li> <li><a href="/wiki/Vorticism" title="Vorticism">Vorticism</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Literature<br />and poetry</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Acmeist_poetry" title="Acmeist poetry">Acmeism</a></li> <li><a href="/wiki/Angry_Penguins" title="Angry Penguins">Angry Penguins</a></li> <li><a href="/wiki/Asemic_writing" title="Asemic writing">Asemic writing</a></li> <li><a href="/wiki/Conceptual_writing" title="Conceptual writing">Conceptual poetry</a></li> <li><a href="/wiki/Cyberpunk" title="Cyberpunk">Cyberpunk</a></li> <li><a href="/wiki/Ego-Futurism" title="Ego-Futurism">Ego-Futurism</a></li> <li><a href="/wiki/Experimental_literature" title="Experimental literature">Experimental literature</a></li> <li><a href="/wiki/Flarf_poetry" title="Flarf poetry">Flarf poetry</a></li> <li><a href="/wiki/Hungry_generation" title="Hungry generation">Hungry generation</a></li> <li><a href="/wiki/Imaginism" title="Imaginism">Imaginism</a></li> <li><a href="/wiki/Imagism" title="Imagism">Imagism</a></li> <li><a href="/wiki/Language_poets" title="Language poets">Language poets</a></li> <li><a href="/wiki/Neoavanguardia" title="Neoavanguardia">Neoavanguardia</a></li> <li><a href="/wiki/Neoteric" title="Neoteric">Neoteric</a></li> <li><a href="/wiki/Nouveau_roman" title="Nouveau roman">Nouveau roman</a></li> <li><a href="/wiki/Oberiu" title="Oberiu">Oberiu</a></li> <li><a href="/wiki/Oulipo" title="Oulipo">Oulipo</a></li> <li><a href="/wiki/Slam_poetry" class="mw-redirect" title="Slam poetry">Slam poetry</a></li> <li><a href="/wiki/Ultraist_movement" title="Ultraist movement">Ultraísmo</a></li> <li><a href="/wiki/Visual_poetry" title="Visual poetry">Visual poetry</a></li> <li><a href="/wiki/Zaum" title="Zaum">Zaum</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Avant-garde_music" title="Avant-garde music">Music</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%">By style</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Avant-funk" title="Avant-funk">Funk</a></li> <li><a href="/wiki/Avant-garde_jazz" title="Avant-garde jazz">Jazz</a> <ul><li><a href="/wiki/Free_funk" title="Free funk">Free funk</a></li> <li><a href="/wiki/Yass_(music)" title="Yass (music)">Yass</a></li></ul></li> <li><a href="/wiki/Avant-pop" title="Avant-pop">Pop</a></li> <li><a href="/wiki/Experimental_rock" title="Experimental rock">Rock</a> <ul><li><a href="/wiki/Avant-prog" title="Avant-prog">Prog</a></li> <li><a href="/wiki/Avant-punk" title="Avant-punk">Punk</a></li> <li><a href="/wiki/Avant-garde_metal" title="Avant-garde metal">Metal</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Others</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Aleatoric_music" title="Aleatoric music">Aleatoric music</a></li> <li><a href="/wiki/Ars_nova" title="Ars nova">Ars nova</a></li> <li><a href="/wiki/Ars_subtilior" title="Ars subtilior">Ars subtilior</a></li> <li><a href="/wiki/Atonality" title="Atonality">Atonal music</a></li> <li><a href="/wiki/Electroacoustic_music" title="Electroacoustic music">Electroacoustic music</a></li> <li><a href="/wiki/Electronic_music" title="Electronic music">Electronic music</a> <ul><li><a href="/wiki/Industrial_music" title="Industrial music">Industrial music</a></li></ul></li> <li><a href="/wiki/Experimental_pop" title="Experimental pop">Experimental pop</a></li> <li><a href="/wiki/Free_jazz" title="Free jazz">Free jazz</a> <ul><li><a href="/wiki/Free_improvisation" title="Free improvisation">Free improvisation</a></li></ul></li> <li><a href="/wiki/Futurism_(music)" title="Futurism (music)">Futurism</a></li> <li><a href="/wiki/Microtonal_music" class="mw-redirect" title="Microtonal music">Microtonal music</a></li> <li><a href="/wiki/Minimal_music" title="Minimal music">Minimal music</a> <ul><li><a href="/wiki/Drone_music" title="Drone music">Drone music</a></li></ul></li> <li><a href="/wiki/Music_theatre" title="Music theatre">Music theatre</a></li> <li><a class="mw-selflink selflink">Musique concrète</a></li> <li><a href="/wiki/New_Complexity" title="New Complexity">New Complexity</a></li> <li><a href="/wiki/No_wave" title="No wave">No wave</a></li> <li><a href="/wiki/Noise_music" title="Noise music">Noise music</a></li> <li><a href="/wiki/Post-rock" title="Post-rock">Post-rock</a></li> <li><a href="/wiki/Rock_in_Opposition" title="Rock in Opposition">Rock in Opposition</a></li> <li><a href="/wiki/Second_Viennese_School" title="Second Viennese School">Second Viennese School</a></li> <li><a href="/wiki/Serialism" title="Serialism">Serialism</a></li> <li><a href="/wiki/Spectral_music" title="Spectral music">Spectral music</a></li> <li><a href="/wiki/Stochastic#Music" title="Stochastic">Stochastic music</a></li> <li><a href="/wiki/Sound_mass" title="Sound mass">Textural music</a></li> <li><a href="/wiki/Totalism" title="Totalism">Totalism</a></li> <li><a href="/wiki/Twelve-tone_technique" title="Twelve-tone technique">Twelve-tone technique</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Cinema<br />and theatre</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Cin%C3%A9ma_pur" class="mw-redirect" title="Cinéma pur">Cinéma pur</a></li> <li><a href="/wiki/Dogme_95" title="Dogme 95">Dogme 95</a></li> <li><a href="/wiki/Drop_Art" title="Drop Art">Drop Art</a></li> <li><a href="/wiki/Epic_theatre" title="Epic theatre">Epic theatre</a></li> <li><a href="/wiki/Experimental_film" title="Experimental film">Experimental film</a></li> <li><a href="/wiki/Experimental_theatre" title="Experimental theatre">Experimental theatre</a></li> <li><a href="/wiki/Modernist_film" title="Modernist film">Modernist film</a></li> <li><a href="/wiki/Poetic_realism" title="Poetic realism">Poetic realism</a></li> <li><a href="/wiki/Postdramatic_theatre" title="Postdramatic theatre">Postdramatic theatre</a></li> <li><a href="/wiki/Remodernist_film" title="Remodernist film">Remodernist film</a></li> <li><a href="/wiki/Structural_film" title="Structural film">Structural film</a></li> <li><a href="/wiki/Theatre_of_the_Absurd" class="mw-redirect" title="Theatre of the Absurd">Theatre of the Absurd</a></li> <li><a href="/wiki/Theatre_of_Cruelty" title="Theatre of Cruelty">Theatre of Cruelty</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">General</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Constructivism_(art)" title="Constructivism (art)">Constructivism</a></li> <li><a href="/wiki/Dada" title="Dada">Dada</a></li> <li><a href="/wiki/Expressionism" title="Expressionism">Expressionism</a></li> <li><a href="/wiki/Fluxus" title="Fluxus">Fluxus</a></li> <li><a href="/wiki/Futurism" title="Futurism">Futurism</a> <ul><li><a href="/wiki/Russian_Futurism" title="Russian Futurism">Russian Futurism</a> <ul><li><a href="/wiki/Cubo-Futurism" title="Cubo-Futurism">Cubo-Futurism</a></li></ul></li></ul></li> <li><a href="/wiki/Lettrism" title="Lettrism">Lettrism</a></li> <li><a href="/wiki/Modernism" title="Modernism">Modernism</a></li> <li><a href="/wiki/Minimalism" title="Minimalism">Minimalism</a></li> <li><a href="/wiki/Postminimalism" title="Postminimalism">Postminimalism</a></li> <li><a href="/wiki/Neo-minimalism" title="Neo-minimalism">Neo-minimalism</a></li> <li><a href="/wiki/Neo-Dada" title="Neo-Dada">Neo-Dada</a></li> <li><a href="/wiki/Neoism" title="Neoism">Neoism</a></li> <li><a href="/wiki/Postmodernism" title="Postmodernism">Postmodernism</a> <ul><li><a href="/wiki/Postmodernist_film" title="Postmodernist film">Postmodernist film</a></li></ul></li> <li><a href="/wiki/Late_modernism" title="Late modernism">Late modernism</a></li> <li><a href="/wiki/Primitivism" title="Primitivism">Primitivism</a></li> <li><a href="/wiki/Situationist_International" title="Situationist International">Situationist International</a></li> <li><a href="/wiki/Social_realism" title="Social realism">Social realism</a></li> <li><a href="/wiki/Socialist_realism" title="Socialist realism">Socialist realism</a></li> <li><a href="/wiki/Surrealism" title="Surrealism">Surrealism</a></li> <li><a href="/wiki/Symbolism_(arts)" class="mw-redirect" title="Symbolism (arts)">Symbolism</a> <ul><li><a href="/wiki/Russian_symbolism" title="Russian symbolism">Russian symbolism</a></li></ul></li></ul> </div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235"></div><div role="navigation" class="navbox" aria-labelledby="Electronic-based_music_styles" style="padding:3px"><table class="nowraplinks mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239400231"><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Electronica" title="Template:Electronica"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Electronica" title="Template talk:Electronica"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Electronica" title="Special:EditPage/Template:Electronica"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Electronic-based_music_styles" style="font-size:114%;margin:0 4em"><a href="/wiki/Electronic_music" title="Electronic music">Electronic</a>-based music styles</div></th></tr><tr><td class="navbox-abovebelow" colspan="2"><div><b><a href="/wiki/Electronic_dance_music" title="Electronic dance music">Electronic dance music</a></b> · <b><a href="/wiki/Electronica" title="Electronica">Electronica</a></b></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/List_of_electronic_music_genres" title="List of electronic music genres">Genres</a> by<br /><a href="/wiki/Timeline_of_electronic_music_genres" title="Timeline of electronic music genres">decade of origin</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%">Early</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Guitar_amplifier" title="Guitar amplifier">Amplified guitar</a> <ul><li><a href="/wiki/Electric_blues" title="Electric blues">Electric blues</a></li> <li><a href="/wiki/Music_of_Hawaii#Guitar_innovations" title="Music of Hawaii">Hawaiian guitar</a></li> <li><a href="/wiki/J%C3%B9j%C3%BA_music" title="Jùjú music">Jùjú</a></li> <li><a href="/wiki/Rock_music" title="Rock music">Rock</a> <ul><li><a href="/wiki/List_of_rock_genres" title="List of rock genres">List of rock genres</a></li></ul></li> <li><a href="/wiki/Western_swing" title="Western swing">Western swing</a></li></ul></li> <li><a href="/wiki/Biomusic" title="Biomusic">Biomusic</a></li> <li><a href="/wiki/Computer_music" title="Computer music">Computer music</a></li> <li><a href="/wiki/Electroacoustic_music" title="Electroacoustic music">Electroacoustic music</a> <ul><li><a href="/wiki/Acousmatic_music" title="Acousmatic music">Acousmatic music</a></li> <li><a class="mw-selflink selflink">Musique concrète</a></li> <li><a href="/wiki/Tape_music" class="mw-redirect" title="Tape music">Tape music</a></li></ul></li> <li><a href="/wiki/Elektronische_Musik" class="mw-redirect" title="Elektronische Musik">Elektronische Musik</a></li> <li><a href="/wiki/Live_electronic_music" title="Live electronic music">Live electronics</a></li> <li><a href="/wiki/Noise_music" title="Noise music">Noise</a></li> <li><a href="/wiki/Sound_system_(Jamaican)" title="Sound system (Jamaican)">Sound system (Jamaican)</a></li> <li><a href="/wiki/Space_age_pop" title="Space age pop">Space age pop</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">1960s</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Ambient_music" title="Ambient music">Ambient</a></li> <li><a href="/wiki/Drone_music" title="Drone music">Drone</a></li> <li><a href="/wiki/Dub_music" title="Dub music">Dub</a></li> <li><a href="/wiki/Electronic_rock" title="Electronic rock">Electronic rock</a></li> <li><a href="/wiki/Jazz-funk" title="Jazz-funk">Jazz-funk</a></li> <li><a href="/wiki/Krautrock" title="Krautrock">Krautrock</a></li> <li><a href="/wiki/New-age_music" title="New-age music">New-age music</a></li> <li><a href="/wiki/Progressive_rock" title="Progressive rock">Progressive rock</a></li> <li><a href="/wiki/Psychedelic_music" title="Psychedelic music">Psychedelic music</a> <ul><li><a href="/wiki/Psychedelic_funk" title="Psychedelic funk">Psychedelic funk</a></li> <li><a href="/wiki/Psychedelic_rock" title="Psychedelic rock">Psychedelic rock</a></li> <li><a href="/wiki/Sampledelia" title="Sampledelia">Sampledelia</a></li></ul></li> <li><a href="/wiki/Space_music" title="Space music">Space music</a> <ul><li><a href="/wiki/Space_rock" title="Space rock">Space rock</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">1970s</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Afro/cosmic_music" title="Afro/cosmic music">Afro/cosmic music</a> <ul><li><a href="/wiki/Space_disco" class="mw-redirect" title="Space disco">Space disco</a></li></ul></li> <li><a href="/wiki/Boogie_(genre)" title="Boogie (genre)">Boogie</a></li> <li><a href="/wiki/Chiptune" title="Chiptune">Chiptune</a></li> <li><a href="/wiki/Dancehall" title="Dancehall">Dancehall</a></li> <li><a href="/wiki/Electropunk" class="mw-redirect" title="Electropunk">Electropunk</a></li> <li><a href="/wiki/Eurodisco" title="Eurodisco">Eurodisco</a></li> <li><a href="/wiki/Hi-NRG" title="Hi-NRG">Hi-NRG</a></li> <li><a href="/wiki/Industrial_music" title="Industrial music">Industrial</a> <ul><li><a href="/wiki/Industrial_rock" title="Industrial rock">Industrial rock</a></li></ul></li> <li><a href="/wiki/Japanoise" title="Japanoise">Japanoise</a></li> <li><a href="/wiki/New_wave_music" title="New wave music">New wave</a> <ul><li><a href="/wiki/Cold_wave_(music)" title="Cold wave (music)">Cold wave</a></li> <li><a href="/wiki/Dark_wave" title="Dark wave">Dark wave</a></li> <li><a href="/wiki/Minimal_wave" title="Minimal wave">Minimal wave</a></li></ul></li> <li><a href="/wiki/Post-disco" title="Post-disco">Post-disco</a> <ul><li><a href="/wiki/Dance-punk" title="Dance-punk">Dance-punk</a></li> <li><a href="/wiki/Dance-rock" title="Dance-rock">Dance-rock</a></li> <li><a href="/wiki/Italo_disco" title="Italo disco">Italo disco</a></li></ul></li> <li><a href="/wiki/Reggae_fusion" title="Reggae fusion">Reggae fusion</a></li> <li><a href="/wiki/Synth-pop" title="Synth-pop">Synth-pop</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">1980s</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Acid_jazz" title="Acid jazz">Acid jazz</a></li> <li><a href="/wiki/Alternative_dance" title="Alternative dance">Alternative dance</a> <ul><li><a href="/wiki/Baggy" title="Baggy">Baggy</a></li></ul></li> <li><a href="/wiki/Ambient_pop" class="mw-redirect" title="Ambient pop">Ambient pop</a></li> <li><a href="/wiki/Breakbeat" title="Breakbeat">Breakbeat</a> <ul><li><a href="/wiki/Florida_breaks" title="Florida breaks">Florida breaks</a></li></ul></li> <li><a href="/wiki/Contemporary_R%26B" title="Contemporary R&B">Contemporary R&B</a> <ul><li><a href="/wiki/New_jack_swing" title="New jack swing">New jack swing</a></li></ul></li> <li><a href="/wiki/Dark_ambient" title="Dark ambient">Dark ambient</a></li> <li><a href="/wiki/Dubtronica" title="Dubtronica">Dubtronica</a></li> <li><a href="/wiki/Electro_(music)" title="Electro (music)">Electro</a> <ul><li><a href="/wiki/Freestyle_music" title="Freestyle music">Freestyle</a></li></ul></li> <li><a href="/wiki/Electro-industrial" title="Electro-industrial">Electro-industrial</a> <ul><li><a href="/wiki/Electronic_body_music" title="Electronic body music">Electronic body music</a></li></ul></li> <li><a href="/wiki/Electropop" title="Electropop">Electropop</a></li> <li><a href="/wiki/Ethnic_electronica" title="Ethnic electronica">Ethnic electronica</a> <ul><li><a href="/wiki/Funk_carioca" title="Funk carioca">Funk carioca</a></li> <li><a href="/wiki/Kuduro" title="Kuduro">Kuduro</a></li> <li><a href="/wiki/Kwaito" title="Kwaito">Kwaito</a></li> <li><a href="/wiki/Tecnocumbia" title="Tecnocumbia">Tecnocumbia</a></li> <li><a href="/wiki/Turbo-folk" title="Turbo-folk">Turbo-folk</a></li></ul></li> <li><a href="/wiki/Eurobeat" title="Eurobeat">Eurobeat</a></li> <li><a href="/wiki/Eurodance" title="Eurodance">Eurodance</a></li> <li><a href="/wiki/Grebo_(music)" title="Grebo (music)">Grebo</a></li> <li><a href="/wiki/House_music" title="House music">House</a> <ul><li><a href="/wiki/Acid_house" title="Acid house">Acid</a></li> <li><a href="/wiki/Ambient_house" title="Ambient house">Ambient</a></li> <li><a href="/wiki/Balearic_beat" title="Balearic beat">Balearic beat</a></li> <li><a href="/wiki/Chicago_house" title="Chicago house">Chicago</a></li> <li><a href="/wiki/Deep_house" title="Deep house">Deep</a></li> <li><a href="/wiki/Garage_house" title="Garage house">Garage</a></li> <li><a href="/wiki/Funky_house" title="Funky house">Funky</a></li> <li><a href="/wiki/Italo_house" title="Italo house">Italo</a></li> <li><a href="/wiki/New_Jersey_sound" title="New Jersey sound">Jersey sound</a></li> <li><a href="/wiki/Hip_house" title="Hip house">Hip house</a></li> <li><a href="/wiki/Latin_house" title="Latin house">Latin</a></li> <li><a href="/wiki/Tech_house" title="Tech house">Tech</a></li> <li><a href="/wiki/Tribal_house" title="Tribal house">Tribal</a></li></ul></li> <li><a href="/wiki/Industrial_hip_hop" title="Industrial hip hop">Industrial hip hop</a></li> <li><a href="/wiki/Industrial_metal" title="Industrial metal">Industrial metal</a></li> <li><a href="/wiki/Martial_industrial" title="Martial industrial">Martial industrial</a></li> <li><a href="/wiki/Miami_bass" title="Miami bass">Miami bass</a></li> <li><a href="/wiki/New_beat" title="New beat">New beat</a></li> <li><a href="/wiki/Power_electronics_(music)" class="mw-redirect" title="Power electronics (music)">Power electronics</a></li> <li><a href="/wiki/Ragga" title="Ragga">Ragga</a></li> <li><a href="/wiki/Sophisti-pop" title="Sophisti-pop">Sophisti-pop</a></li> <li><a href="/wiki/Synth-metal" class="mw-redirect" title="Synth-metal">Synth-metal</a></li> <li><a href="/wiki/Techno" title="Techno">Techno</a> <ul><li><a href="/wiki/Acid_techno" title="Acid techno">Acid techno</a></li> <li><a href="/wiki/Bleep_techno" title="Bleep techno">Bleep techno</a></li> <li><a href="/wiki/Detroit_techno" title="Detroit techno">Detroit techno</a></li></ul></li> <li><a href="/wiki/Tracker_music" class="mw-redirect" title="Tracker music">Tracker music</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">1990s</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Ambient_dub" class="mw-redirect" title="Ambient dub">Ambient dub</a></li> <li><a href="/wiki/Ambient_techno" title="Ambient techno">Ambient techno</a></li> <li><a href="/wiki/Asian_underground" class="mw-redirect" title="Asian underground">Asian underground</a></li> <li><a href="/wiki/Baltimore_club" title="Baltimore club">Baltimore club</a></li> <li><a href="/wiki/Bhangragga" class="mw-redirect" title="Bhangragga">Bhangragga</a></li> <li><a href="/wiki/Big_beat" title="Big beat">Big beat</a></li> <li><a href="/wiki/Bitpop" title="Bitpop">Bitpop</a></li> <li><a href="/wiki/Breakbeat_hardcore" title="Breakbeat hardcore">Breakbeat hardcore</a> <ul><li><a href="/wiki/Darkcore" title="Darkcore">Darkcore</a></li> <li><a href="/wiki/Happy_hardcore" title="Happy hardcore">Happy hardcore</a></li> <li><a href="/wiki/Toytown_techno" title="Toytown techno">Toytown techno</a></li></ul></li> <li><a href="/wiki/Broken_beat" title="Broken beat">Broken beat</a></li> <li><a href="/wiki/Changa_tuki" class="mw-redirect" title="Changa tuki">Changa tuki</a></li> <li><a href="/wiki/Chopped_and_screwed" title="Chopped and screwed">Chopped and screwed</a></li> <li><a href="/wiki/Dark_electro" class="mw-redirect" title="Dark electro">Dark electro</a></li> <li><a href="/wiki/Denpa_song" title="Denpa song">Denpa song</a></li> <li><a href="/wiki/Digital_hardcore" title="Digital hardcore">Digital hardcore</a></li> <li><a href="/wiki/Disco_polo" title="Disco polo">Disco polo</a></li> <li><a href="/wiki/Diva_house" title="Diva house">Diva house</a> <ul><li><a href="/wiki/Hardbag" title="Hardbag">Hardbag</a></li></ul></li> <li><a href="/wiki/Downtempo" title="Downtempo">Downtempo</a> <ul><li><a href="/wiki/Bristol_sound" class="mw-redirect" title="Bristol sound">Bristol sound</a></li> <li><a href="/wiki/Psybient" class="mw-redirect" title="Psybient">Psybient</a></li> <li><a href="/wiki/Trip_hop" title="Trip hop">Trip hop</a></li></ul></li> <li><a href="/wiki/Drum_and_bass" title="Drum and bass">Drum and bass</a> <ul><li>Heavy <ul><li><a href="/wiki/Darkstep" class="mw-redirect" title="Darkstep">Darkstep</a></li> <li><a href="/wiki/Hardstep" title="Hardstep">Hardstep</a></li> <li><a href="/wiki/Neurofunk" title="Neurofunk">Neurofunk</a></li> <li><a href="/wiki/Techstep" title="Techstep">Techstep</a></li></ul></li> <li><a href="/wiki/Jungle_music" title="Jungle music">Jungle</a> <ul><li><a href="/wiki/Ragga_jungle" class="mw-redirect" title="Ragga jungle">Ragga jungle</a></li></ul></li> <li>Light <ul><li><a href="/wiki/Atmospheric_drum_and_bass" class="mw-redirect" title="Atmospheric drum and bass">Atmospheric</a></li> <li><a href="/wiki/Intelligent_drum_and_bass" class="mw-redirect" title="Intelligent drum and bass">Intelligent</a></li> <li><a href="/wiki/Jazzstep" class="mw-redirect" title="Jazzstep">Jazzstep</a></li> <li><a href="/wiki/Liquid_funk" title="Liquid funk">Liquid funk</a></li></ul></li></ul></li> <li><a href="/wiki/Dub_techno" title="Dub techno">Dub techno</a></li> <li><a href="/wiki/Dungeon_synth" title="Dungeon synth">Dungeon synth</a></li> <li><a href="/wiki/Electroclash" title="Electroclash">Electroclash</a></li> <li><a href="/wiki/Folktronica" title="Folktronica">Folktronica</a></li> <li><a href="/wiki/French_house" title="French house">French house</a> <ul><li><a href="/wiki/Nu_disco" class="mw-redirect" title="Nu disco">Nu disco</a></li></ul></li> <li><a href="/wiki/Funkot" title="Funkot">Funkot</a></li> <li><a href="/wiki/Futurepop" title="Futurepop">Futurepop</a></li> <li><a href="/wiki/Ghetto_house" title="Ghetto house">Ghetto house</a> <ul><li><a href="/wiki/Footwork_(genre)" title="Footwork (genre)">Footwork</a></li> <li><a href="/wiki/Ghettotech" title="Ghettotech">Ghettotech</a></li></ul></li> <li><a href="/wiki/Glitch_(music)" title="Glitch (music)">Glitch</a></li> <li><a href="/wiki/Hardcore_(electronic_dance_music_genre)" title="Hardcore (electronic dance music genre)">Hardcore</a> <ul><li><a href="/wiki/Belgian_hardcore_techno" title="Belgian hardcore techno">Belgian techno</a></li> <li><a href="/wiki/Bouncy_techno" title="Bouncy techno">Bouncy techno</a></li> <li><a href="/wiki/Breakcore" title="Breakcore">Breakcore</a></li> <li><a href="/wiki/Free_tekno_(music)" class="mw-redirect" title="Free tekno (music)">Free tekno</a></li> <li><a href="/wiki/Frenchcore" title="Frenchcore">Frenchcore</a></li> <li><a href="/wiki/Gabber" title="Gabber">Gabber</a></li> <li><a href="/wiki/Hardstyle" title="Hardstyle">Hardstyle</a> <ul><li><a href="/wiki/Lento_violento" title="Lento violento">Lento violento</a></li></ul></li> <li><a href="/wiki/J-core" title="J-core">J-core</a></li> <li><a href="/wiki/M%C3%A1kina" title="Mákina">Mákina</a></li> <li><a href="/wiki/Speedcore" title="Speedcore">Speedcore</a></li></ul></li> <li><a href="/wiki/Harsh_noise_wall" title="Harsh noise wall">Harsh noise wall</a></li> <li><a href="/wiki/Illbient" title="Illbient">Illbient</a></li> <li><a href="/wiki/Indietronica" class="mw-redirect" title="Indietronica">Indietronica</a></li> <li><a href="/wiki/Industrial_techno" title="Industrial techno">Industrial techno</a></li> <li><a href="/wiki/Intelligent_dance_music" title="Intelligent dance music">Intelligent dance music</a> <ul><li><a href="/wiki/Drill_%27n%27_bass" title="Drill 'n' bass">Drill 'n' bass</a></li></ul></li> <li><a href="/wiki/Kidandali" title="Kidandali">Kidandali</a></li> <li><a href="/wiki/Jam_band#1996–2008:_rise_of_Phish_and_music_festivals" title="Jam band">Livetronica</a></li> <li><a href="/wiki/Merenhouse" title="Merenhouse">Merenhouse</a></li> <li><a href="/wiki/Microhouse" title="Microhouse">Microhouse</a></li> <li><a href="/wiki/Minimal_techno" title="Minimal techno">Minimal techno</a> <ul><li><a href="/wiki/Schaffel" title="Schaffel">Schaffel</a></li></ul></li> <li><a href="/wiki/Nu_jazz" title="Nu jazz">Nu jazz</a> <ul><li><a href="/wiki/Electro_swing" title="Electro swing">Electro swing</a></li></ul></li> <li><a href="/wiki/Nu_metal" title="Nu metal">Nu metal</a></li> <li><a href="/wiki/Nu_skool_breaks" title="Nu skool breaks">Nu skool breaks</a></li> <li><a href="/wiki/Post-rock" title="Post-rock">Post-rock</a></li> <li><a href="/wiki/Power_noise" title="Power noise">Power noise</a></li> <li><a href="/wiki/Progressive_house" title="Progressive house">Progressive house</a></li> <li><a href="/wiki/Psydub" title="Psydub">Psydub</a></li> <li><a href="/wiki/Reggaeton" title="Reggaeton">Reggaeton</a> <ul><li><a href="/wiki/Dembow" class="mw-redirect" title="Dembow">Dembow</a></li></ul></li> <li><a href="/wiki/Trance_music" title="Trance music">Trance</a> <ul><li><a href="/wiki/Acid_trance" title="Acid trance">Acid</a></li> <li><a href="/wiki/Balearic_trance" title="Balearic trance">Balearic</a></li> <li><a href="/wiki/Dream_trance" title="Dream trance">Dream</a></li> <li><a href="/wiki/Goa_trance" title="Goa trance">Goa</a></li> <li><a href="/wiki/Eurodance#Hands_Up" title="Eurodance">Hands Up</a></li> <li><a href="/wiki/Hard_trance" title="Hard trance">Hard</a></li> <li><a href="/wiki/Progressive_trance" class="mw-redirect" title="Progressive trance">Progressive</a></li> <li><a href="/wiki/Psychedelic_trance" title="Psychedelic trance">Psy</a></li> <li><a href="/wiki/Tech_trance" title="Tech trance">Tech</a></li> <li><a href="/wiki/Uplifting_trance" title="Uplifting trance">Uplifting</a></li> <li><a href="/wiki/Vocal_trance" class="mw-redirect" title="Vocal trance">Vocal</a></li></ul></li> <li><a href="/wiki/UK_garage" title="UK garage">UK garage</a> <ul><li><a href="/wiki/2-step_garage" title="2-step garage">2-step</a></li> <li><a href="/wiki/Breakstep" title="Breakstep">Breakstep</a></li> <li><a href="/wiki/Speed_garage" title="Speed garage">Speed garage</a></li></ul></li> <li><a href="/wiki/UK_hard_house" title="UK hard house">UK hard house</a> <ul><li><a href="/wiki/Hardbass" title="Hardbass">Hardbass</a></li> <li><a href="/wiki/Hard_NRG" title="Hard NRG">Hard NRG</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">2000s</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Afrobeats" title="Afrobeats">Afrobeats</a></li> <li><a href="/wiki/Bassline_(music_genre)" title="Bassline (music genre)">Bassline</a></li> <li><a href="/wiki/Budots" title="Budots">Budots</a></li> <li><a href="/wiki/Christian_electronic_dance_music" title="Christian electronic dance music">Christian electronic dance music</a></li> <li><a href="/wiki/Cloud_rap" title="Cloud rap">Cloud rap</a></li> <li><a href="/wiki/Coup%C3%A9-d%C3%A9cal%C3%A9" title="Coupé-décalé">Coupé-décalé</a></li> <li><a href="/wiki/Crunk" title="Crunk">Crunk</a> <ul><li><a href="/wiki/Crunkcore" title="Crunkcore">Crunkcore</a></li></ul></li> <li><a href="/wiki/Dancehall_pop" title="Dancehall pop">Dancehall pop</a></li> <li><a href="/wiki/Dubstep" title="Dubstep">Dubstep</a> <ul><li><a href="/wiki/Reggaestep" title="Reggaestep">Reggaestep</a></li></ul></li> <li><a href="/wiki/Electro_house" title="Electro house">Electro house</a> <ul><li><a href="/wiki/Complextro" class="mw-redirect" title="Complextro">Complextro</a></li> <li><a href="/wiki/Dutch_house" class="mw-redirect" title="Dutch house">Dutch house</a></li> <li><a href="/wiki/Fidget_house" class="mw-redirect" title="Fidget house">Fidget house</a></li></ul></li> <li><a href="/wiki/Electronicore" title="Electronicore">Electronicore</a></li> <li><a href="/wiki/Future_garage" title="Future garage">Future garage</a></li> <li><a href="/wiki/Grime_(music_genre)" class="mw-redirect" title="Grime (music genre)">Grime</a> <ul><li><a href="/wiki/Grindie" title="Grindie">Grindie</a></li></ul></li> <li><a href="/wiki/Hauntology_(music)" title="Hauntology (music)">Hauntology</a></li> <li><a href="/wiki/Hypnagogic_pop" title="Hypnagogic pop">Hypnagogic pop</a> <ul><li><a href="/wiki/Chillwave" title="Chillwave">Chillwave</a></li> <li><a href="/wiki/Glo-fi" class="mw-redirect" title="Glo-fi">Glo-fi</a></li></ul></li> <li><a href="/wiki/Jersey_club" title="Jersey club">Jersey club</a></li> <li><a href="/wiki/Juke_house" class="mw-redirect" title="Juke house">Juke house</a></li> <li><a href="/wiki/Jumpstyle" title="Jumpstyle">Jumpstyle</a></li> <li><a href="/wiki/Mainstream_hardcore" title="Mainstream hardcore">Mainstream hardcore</a></li> <li><a href="/wiki/Nightcore" title="Nightcore">Nightcore</a></li> <li><a href="/wiki/Nintendocore" title="Nintendocore">Nintendocore</a></li> <li><a href="/wiki/Nortec" title="Nortec">Nortec</a></li> <li><a href="/wiki/Phonk" title="Phonk">Phonk</a></li> <li><a href="/wiki/Post-punk_revival" title="Post-punk revival">Post-punk revival</a> <ul><li><a href="/wiki/New_rave" title="New rave">New rave</a></li></ul></li> <li><a href="/wiki/Rab%C3%B2day" title="Rabòday">Rabòday</a></li> <li><a href="/wiki/Reductionism_(music)" title="Reductionism (music)">Reductionism</a> <ul><li><a href="/wiki/Lowercase_(music)" title="Lowercase (music)">Lowercase</a></li> <li><a href="/wiki/Onkyokei" title="Onkyokei">Onkyokei</a></li></ul></li> <li><a href="/wiki/Russ_music" title="Russ music">Russ music</a></li> <li><a href="/wiki/Sambass" title="Sambass">Sambass</a></li> <li><a href="/wiki/Shangaan_electro" title="Shangaan electro">Shangaan electro</a></li> <li><a href="/wiki/Skweee" title="Skweee">Skweee</a></li> <li><a href="/wiki/Synthwave" title="Synthwave">Synthwave</a> <ul><li><a href="/wiki/Sovietwave" title="Sovietwave">Sovietwave</a></li></ul></li> <li><a href="/wiki/Tecno_brega" title="Tecno brega">Tecno brega</a></li> <li><a href="/wiki/Trival" class="mw-redirect" title="Trival">Trival</a></li> <li><a href="/wiki/UK_bass" title="UK bass">UK bass</a></li> <li><a href="/wiki/UK_funky" title="UK funky">UK funky</a> <ul><li><a href="/wiki/Funkstep" title="Funkstep">Funkstep</a></li></ul></li> <li><a href="/wiki/Vocaloid_music" class="mw-redirect" title="Vocaloid music">Vocaloid music</a></li> <li><a href="/wiki/Witch_house_(genre)" title="Witch house (genre)">Witch house</a></li> <li><a href="/wiki/Wonky_(genre)" title="Wonky (genre)">Wonky</a></li> <li><a href="/wiki/Wonky_pop" title="Wonky pop">Wonky pop</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">2010s</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Afroswing" title="Afroswing">Afroswing</a></li> <li><a href="/wiki/Algorave" title="Algorave">Algorave</a></li> <li><a href="/wiki/Amapiano" title="Amapiano">Amapiano</a></li> <li><a href="/wiki/Azonto" title="Azonto">Azonto</a></li> <li><a href="/wiki/Big_room_house" title="Big room house">Big room house</a></li> <li><a href="/wiki/Black_MIDI" title="Black MIDI">Black MIDI</a></li> <li><a href="/wiki/Brazilian_bass" class="mw-redirect" title="Brazilian bass">Brazilian bass</a></li> <li><a href="/wiki/Bro-country" title="Bro-country">Bro-country</a></li> <li><a href="/wiki/Deconstructed_club" title="Deconstructed club">Deconstructed club</a></li> <li><a href="/wiki/Dreampunk" title="Dreampunk">Dreampunk</a></li> <li><a href="/wiki/Funktronica" class="mw-redirect" title="Funktronica">Funktronica</a></li> <li><a href="/wiki/Future_bass" title="Future bass">Future bass</a> <ul><li><a href="/wiki/Kawaii_future_bass" class="mw-redirect" title="Kawaii future bass">Kawaii future bass</a></li></ul></li> <li><a href="/wiki/Future_house" title="Future house">Future house</a></li> <li><a href="/wiki/Future_soul" title="Future soul">Future soul</a></li> <li><a href="/wiki/Hyperpop" title="Hyperpop">Hyperpop</a></li> <li><a href="/wiki/Gqom" title="Gqom">Gqom</a></li> <li><a href="/wiki/Jungle_terror" class="mw-redirect" title="Jungle terror">Jungle terror</a></li> <li><a href="/wiki/Lofi_hip_hop" title="Lofi hip hop">Lofi hip hop</a></li> <li><a href="/wiki/Mahraganat" title="Mahraganat">Mahraganat</a></li> <li><a href="/wiki/Melbourne_bounce" class="mw-redirect" title="Melbourne bounce">Melbourne bounce</a></li> <li><a href="/wiki/Moombahton" title="Moombahton">Moombahton</a> <ul><li><a href="/wiki/Moombahcore" class="mw-redirect" title="Moombahcore">Moombahcore</a></li> <li><a href="/wiki/Moombahsoul" class="mw-redirect" title="Moombahsoul">Moombahsoul</a></li></ul></li> <li><a href="/wiki/Mumble_rap" title="Mumble rap">Mumble rap</a></li> <li><a href="/wiki/Outsider_house" title="Outsider house">Outsider house</a></li> <li><a href="/wiki/Plugg_(music)" class="mw-redirect" title="Plugg (music)">Plugg</a></li> <li><a href="/wiki/Post-dubstep" title="Post-dubstep">Post-dubstep</a> <ul><li><a href="/wiki/Brostep" title="Brostep">Brostep</a></li> <li><a href="/wiki/Riddim_(genre)" title="Riddim (genre)">Riddim (genre)</a></li></ul></li> <li><a href="/wiki/Rara_tech" title="Rara tech">Rara tech</a></li> <li><a href="/wiki/Seapunk" title="Seapunk">Seapunk</a></li> <li><a href="/wiki/Shamstep" title="Shamstep">Shamstep</a></li> <li><a href="/wiki/Trap_music_(EDM)" class="mw-redirect" title="Trap music (EDM)">EDM trap</a></li> <li><a href="/wiki/Tropical_house" title="Tropical house">Tropical house</a></li> <li><a href="/wiki/Vaporwave" title="Vaporwave">Vaporwave</a> <ul><li><a href="/wiki/Hardvapour" title="Hardvapour">Hardvapour</a></li> <li><a href="/wiki/Mallsoft" title="Mallsoft">Mallsoft</a></li> <li><a href="/wiki/Chopped_%26_screwed#Slowed_and_reverb" class="mw-redirect" title="Chopped & screwed">Slowed and reverb</a></li></ul></li> <li><a href="/wiki/Wave_music" title="Wave music">Wave</a> <ul><li><a href="/wiki/Hardwave" class="mw-redirect" title="Hardwave">Hardwave</a></li></ul></li> <li><a href="/wiki/Weird_SoundCloud" title="Weird SoundCloud">Weird SoundCloud</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">2020s</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Breakcore#2020s_revival" title="Breakcore">Breakcore revival</a></li> <li><a href="/wiki/Drift_phonk" class="mw-redirect" title="Drift phonk">Drift phonk</a></li> <li><a href="/wiki/Hyperpop#Related_genres" title="Hyperpop">Hyperpop microgenres</a></li> <li><a href="/wiki/Plugg_(music)#Proliferation_of_micro-subgenres" class="mw-redirect" title="Plugg (music)">Plugg microgenres</a></li> <li><a href="/wiki/Rage_rap" class="mw-redirect" title="Rage rap">Rage</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other topics</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%">Culture</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Drop_(music)" title="Drop (music)">Beat drop</a></li> <li><a href="/wiki/Club_drug" title="Club drug">Club drug</a></li> <li><a href="/wiki/Disc_jockey" title="Disc jockey">Disc jockey</a> <ul><li><a href="/wiki/DJ_mix" title="DJ mix">DJ mix</a></li> <li><a href="/wiki/Sound_system_(DJ)" title="Sound system (DJ)">Sound system</a></li> <li><a href="/wiki/Turntablism" title="Turntablism">Turntablism</a></li></ul></li> <li><a href="/wiki/Mashup_(music)" title="Mashup (music)">Mashup</a></li> <li><a href="/wiki/Microgenre" title="Microgenre">Microgenre</a></li> <li><a href="/wiki/Nightclub" title="Nightclub">Nightclub</a></li> <li><a href="/wiki/Rave" title="Rave">Rave</a> <ul><li><a href="/wiki/Acid_house_party" title="Acid house party">Acid house party</a></li> <li><a href="/wiki/Circuit_party" title="Circuit party">Circuit party</a></li> <li><a href="/wiki/Doof" title="Doof">Doof</a></li> <li><a href="/wiki/List_of_electronic_dance_music_festivals" class="mw-redirect" title="List of electronic dance music festivals">EDM festival</a></li> <li><a href="/wiki/Free_party" title="Free party">Free party</a> <ul><li><a href="/wiki/Teknival" title="Teknival">Teknival</a></li></ul></li></ul></li> <li><a href="/wiki/Remix" title="Remix">Remix</a></li> <li><a href="/wiki/Sampling_(music)" title="Sampling (music)">Sampling</a> <ul><li><a href="/wiki/Plunderphonics" title="Plunderphonics">Plunderphonics</a></li> <li><a href="/wiki/Rare_groove" title="Rare groove">Rare groove</a></li> <li><a href="/wiki/Riddim" title="Riddim">Riddim</a></li></ul></li> <li><a href="/wiki/Street_dance" title="Street dance">Street dance</a> <ul><li><a href="/wiki/House_dance" title="House dance">House dance</a></li> <li><a href="/wiki/Rave_dance" class="mw-redirect" title="Rave dance">Rave dance</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Genres</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Bass_music" title="Bass music">Bass music</a></li> <li><a href="/wiki/Celtic_fusion" title="Celtic fusion">Celtic fusion</a></li> <li><a href="/wiki/Chill-out_music" title="Chill-out music">Chill-out music</a> <ul><li><a href="/wiki/Lounge_music" title="Lounge music">Lounge music</a></li></ul></li> <li><a href="/wiki/Disco" title="Disco">Disco</a></li> <li><a href="/wiki/Doujin_music" title="Doujin music">Doujin music</a></li> <li><a href="/wiki/Lo-fi_music" title="Lo-fi music">Lo-fi music</a></li> <li><a href="/wiki/Madchester" title="Madchester">Madchester</a></li> <li><a href="/wiki/Progressive_electronica" class="mw-redirect" title="Progressive electronica">Progressive electronica</a></li> <li><a href="/wiki/Rave_music" class="mw-redirect" title="Rave music">Rave music</a></li> <li><a href="/wiki/Reggae" title="Reggae">Reggae</a></li> <li><a href="/wiki/Sound_collage" title="Sound collage">Sound collage</a></li> <li><a href="/wiki/Video_game_music" title="Video game music">Video game music</a> <ul><li><a href="/wiki/Adaptive_music" title="Adaptive music">Adaptive music</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Tools</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Bass_(sound)#Music_shows_and_dances" title="Bass (sound)">Bass</a></li> <li><a href="/wiki/Data_sonification" title="Data sonification">Data sonification</a></li> <li><a href="/wiki/Digital_audio_workstation" title="Digital audio workstation">Digital audio workstation</a></li> <li><a href="/wiki/Drum_break" class="mw-redirect" title="Drum break">Drum break</a> <ul><li><a href="/wiki/Category:Sampled_drum_breaks" title="Category:Sampled drum breaks">List</a></li></ul></li> <li><a href="/wiki/Electronic_musical_instrument" title="Electronic musical instrument">Electronic musical instrument</a> <ul><li><a href="/wiki/Drum_machine" title="Drum machine">Drum machine</a></li> <li><a href="/wiki/Sampler_(musical_instrument)" title="Sampler (musical instrument)">Sampler</a></li> <li><a href="/wiki/Synthesizer" title="Synthesizer">Synthesizer</a></li></ul></li> <li><a href="/wiki/Electronics_in_rock_music" title="Electronics in rock music">Electronics in rock music</a></li> <li><a href="/wiki/MIDI" title="MIDI">MIDI</a></li> <li><a href="/wiki/Music_technology_(electronic_and_digital)" title="Music technology (electronic and digital)">Music technology (electronic and digital)</a></li> <li><a href="/wiki/Recording_studio_as_an_instrument" title="Recording studio as an instrument">Recording studio as an instrument</a></li> <li><a href="/wiki/Waveform" title="Waveform">Waveform</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235"></div><div role="navigation" class="navbox" aria-labelledby="Pierre_Schaeffer" style="padding:3px"><table class="nowraplinks hlist mw-collapsible mw-collapsed navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239400231"><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Pierre_Schaeffer" title="Template:Pierre Schaeffer"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Pierre_Schaeffer" title="Template talk:Pierre Schaeffer"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Pierre_Schaeffer" title="Special:EditPage/Template:Pierre Schaeffer"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Pierre_Schaeffer" style="font-size:114%;margin:0 4em"><a href="/wiki/Pierre_Schaeffer" title="Pierre Schaeffer">Pierre Schaeffer</a></div></th></tr><tr><td class="navbox-abovebelow" colspan="2"><div><a href="/wiki/Pierre_Schaeffer_bibliography" title="Pierre Schaeffer bibliography">Bibliography</a></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Musical works</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/Cinq_%C3%A9tudes_de_bruits" title="Cinq études de bruits">Cinq études de bruits</a></i> (1948)</li> <li><i><a href="/wiki/Symphonie_pour_un_homme_seul" title="Symphonie pour un homme seul">Symphonie pour un homme seul</a></i> (1950)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Foundations</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a class="mw-selflink-fragment" href="#Groupe_de_Recherches_Musicales">GRM</a></li> <li><a href="/wiki/La_jeune_France" title="La jeune France">La Jeune France</a></li> <li><a href="/wiki/Ocora" title="Ocora">Ocora</a></li> <li>RTF Electronic Studio</li> <li><a href="/wiki/Studio_d%27Essai" title="Studio d'Essai">Studio d'Essai</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Developments</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Acousmatic_music" title="Acousmatic music">Acousmatic music</a></li> <li><a href="/wiki/Acousmatic_sound" title="Acousmatic sound">Acousmatic sound</a></li> <li><a href="/wiki/Experimental_music" title="Experimental music">Experimental music</a></li> <li><a href="/wiki/French_electronic_music" title="French electronic music">French electronic music</a></li> <li><a class="mw-selflink selflink">Musique concrète</a></li> <li>Schaefferian theory</li> <li><a href="/wiki/Sound_object" title="Sound object">Sound object</a></li> <li><a href="/wiki/Spectromorphology" title="Spectromorphology">Spectromorphology</a></li></ul> </div></td></tr><tr><td class="navbox-abovebelow" 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