Techniques such as Furthermore, he emphasized the importance of "playing" (in his terms, (2) Reply to Otavio, text by Pierre Schaeffer in the program of Soares Brandão's concert in Salle Pleyel in honor of Pierre Schaeffer's 80th birthday (January 12, 1990): (3) Text by Pierre Schaeffer in support of experimental piano pedagogy (13/09/1990): Below is a list of Schaeffer's musical works, showing his compositions and the year(s) they were recorded.
Pierre Schaeffer (1910-1995) was a graduate of the Paris Ecole Polytechnique, after which he went to work for Radiodiffusion Francaise (RF) as an engineer and broadcaster.
Later on, he found it was possible to remove the familiarity of musical instrument sounds and abstract them further by techniques such as removing the attack of the recorded sound.
For example, the five-movement ‘Etude aux objets’ (‘Objets multipliés’ is the third) opens with ‘Objets exposés,’ which functions like a typical opening movement, introducing themes that subsequent movements will later expand upon.
... (the train whistles from Schaeffer’s first musique concrète composition reappear at 1:34). But a synthesiser with The development of the machine was constrained by several factors. Musique concrète, (French: “concrete music”), experimental technique of musical composition using recorded sounds as raw material. Much like the rest of Comprised of monstrous bellows, crunchy harpsichord, thunder, engine growls, swarming bees, sensual spoken word, and god knows what else, If we ever receive an extraterrestrial response to the ‘Etude aux sons animés’ is something of a transitional piece when looking at Schaeffer’s work from afar. Mediante esta fórmula Schaeffer fundó lo que él mismo The term refers to the pedagogy of Pythagoras, who would lecture his students from behind a veil in order to ensure that no visual cues distracted them from his teaching.
Schaeffer's literary works span a range of genres, both in terms of fiction and non-fiction. "Máquina de canciones V: Pierre Schaeffer: de la investigación a los ruidos a la música experimental". Because any sound could now be repurposed for the sake of music-making, the possible combinations of timbres, rhythms, instruments, voices and harmonies became virtually infinite.“After the war, in the ‘45 to ‘48 period, we had driven back the German invasion but we hadn’t driven back the invasion of Austrian music, 12-tone music,” Schaeffer, who had participated in the French resistance, once reflected. The tactility in a piece like ‘Objets multipliés’ is astonishing; it’s as if objects are held directly to your ear: pans rattles and clank against your eardrum, metallic needles nestle up to your auditory cortex.As abstract as his later material might seem, Schaeffer employed several Western classical music tropes, too.
“I am seeking direct contact with sound material, without electrons getting in the way,” Schaeffer once remarked. Although these broadcasts contained musical pieces by Schaeffer they cannot be adequately described as part of his main line of musical output. Los cinco estudios incluían: “Déconcertante ou Étude aux Though a certain energy and naive charm is lacking in ‘Etude aux objects’ compared to earlier collections like ‘Études de bruits’, there’s no denying that Schaeffer’s techniques are otherwise improved in nearly every way. Since 1961 GRM has had six Group Directors: Michel Philippot (1960–61), Luc Ferrari (1962–63), Bernard Baschet and François Vercken (1964–66).
Pierre Henry's composing talent developed greatly during this period at the GRMC and he worked with Following the emergence of differences within the GRMC Pierre Henry, Philippe Arthuys, and several of their colleagues, resigned in April 1958. Soon after, sparked by an interest in radio art, the theories of Italian Futurist Luigi Russolo, and the use of recorded sound in cinema, Schaeffer convinced the RDF to grant him permission to begin experiments in music research and technology (formally called “research into noises”).In 1942, Schaeffer officially founded his first studio at the RDF, the Studio d’Essai, later renamed Club d’Essai.
Otro compositor que se sirvió del estudio de
It had been identified that transformations brought about by varying playback speed lead to modification in the character of the sound material: All of which is to say that Using prepared electronic sounds courtesy of pupil Bernard Dürr, Schaeffer dismantles and reconfigures these fragments into brilliantly glossy structures — remaking his musique concrète anew. From the beginning of 1966, François Bayle took over the direction for the duration of thirty-one years, to 1997. In 1928 music critic André Cœuroy wrote in his book 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 (Perhaps earlier than Schaeffer conducting his preliminary experiments into sound manipulation (assuming these were later than 1944, and not as early as the foundation of the Studio d'Essai in 1942) was the activity of Egyptian composer 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 By 1949 Schaeffer's compositional work was known publicly as In the early and mid 1950s Schaeffer's commitments to RTF included official missions which often required extended absences from the studios.
Whether the result of compromise or just a carefree last hurrah, ‘Strette’ shows Schaeffer, a man nearing the end of his career, exploring new territory – musique concrète be damned.One of Schaeffer’s last works, ‘Bilude’ is a synthesis of piano and tape which quotes Bach’s ‘Prelude in C Minor’ and then subjects it to a series of playful edits. An engineer, writer, composer, philosopher, musicologist, educator and acoustician, Schaeffer is one of the most influential figures in modern music, known for pioneering a radical innovation in 20th century music: musique concrète.After receiving a degree in radio broadcasting, the young Schaeffer began working as an engineer at France’s public broadcaster Radiodiffusion française (RDF) in 1936.
JSTOR 3.680.939.
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