Musique concrète

The musique concrète ( " concrete music " ) is a style of music, be included in the sounds of nature, technology and the environment with the microphone and electronically modified by mounting, tape cut, change the tape speed and tape loops. Influences are mainly found in Italian Futurism.

The name goes back to an article by the French engineer Pierre Schaeffer, of the French radio RDF ​​the club d' essai founded in Paris in 1943 for this purpose, from the year 1949. The term should be a distinction to the classical direction of abstract music (classical music, twelve-tone, serial music). According to Schaeffer, the movement goes in classical music from the abstract to the concrete (composition), the opposite is true here: From Concrete ( everyday sounds ) the abstract is created by manipulating sounds.

Because it was at that time only in Germany with the tape recorder, Schaeffer was obliged to rely only on direct interfaces recordings on vinyl records. The études de bruits program was first broadcast in 1948, including with the étude pour chemin de fer, where the diverse sounds of steam locomotives and railroad cars can be heard. During its work Schaeffer developed the model of the objet sonore, a general and abstract scheme for the classification of sound structures between individual sound and music piece as a whole.

This music perception drew a bitter dispute with supporters of the Cologne school ( and also Second Viennese School ) to be, especially with the composer Pierre Boulez, there were arguments about contemporary music aesthetics. Boulez threw Schaeffer before, more likely to be a craftsman as a musician, and that his way of producing music, a " bricolage " ( tinkering ) same thing Schaeffer did not refuse; on the contrary, is "the history of the music itself [ ... ] is a development by Bricolage ". So it was that African music in his works was used. The composer Tod Dockstader this:

" Pierre Schaeffer original definition was to work with the sound in the ear, directly with the sound, as opposition to the" abstract " music, were written in the sounds. As Schaeffer, a sound engineer at work, I had exercise as "workers with rhythms, frequencies, and intensities '. As a non- musician, I could not write music, but this "new art of music " did not need a notation. At the beginning of concrete music was not even recognized as music. Schaeffer's first exhibition was a concert of noise "

By opposing views they even spoke of a Second Iron Curtain.

Virtually also personal differences were abolished, as in Cologne, Karlheinz Stockhausen, who had previously worked with Schaeffer, 1955-56 composed the Song of the Youths, language, voice and electronic sounds equally not only mixed, but left merge. Since then, these directions and more difficult keep apart; Electronic music soon established himself as a generic term, hence the confining, but still controversial term originated Electroacoustic Music.

In 1951, Pierre Henry the club d' essai, was from the Groupe de Recherches now de (la) Musique concrète. Henry later worked more on the involvement of the rock with electronic influences of concrete music, and even as a father figure of techno known since the re-release (1997 ) of its fair pour le temps présent of 1967. He worked with the group Spooky Tooth, and later the Violent Femmes together.

Musique concrète -influenced noise music and gave the development of the radio play and acoustic features significant influence of the works Luc Ferrari ( 1929-2005 ).