Pierre Henri Marie Schaeffer (August 14, 1910–August 19, 1995) was a French composer, noted as the inventor of musique concrète. The term is often misunderstood as referring to simply making music out of "real world" sounds, or sounds other than those made by musical instruments. Rather, it is a wider attempt to allow new ways of musical expression. Traditionally, (classical / serious) music starts as an abstraction, musical notation on paper or other medium, which is then produced into audible music. Musique concrète strives to start at the "concrete" sounds, experiment with them, and abstract them into a musical composition. The importance of Scaheffer's work with musique concrète is threefold from the contemporary point of view. He developed the concept of including any and all sounds into the musical vocabulary. At first he concentrated on working with sounds other than those produced by traditional musical instruments. 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. He was among the first to manipulate recorded sound in the way that it could be used in conjuction with other such sounds in the making of a musical piece. This could be thought of as a precursor to contemporary sampling practices. Furthermore, he emphasized the importance of play (in his terms, jeu) in the creation of music. Schaeffer's idea of jeu comes from the French verb jouer, which carries the same double meaning as the English verb play: 'to enjoy oneself by interacting with one's surroundings', as well as 'to operate a musical instrument'. This notion is at the core of the concept of musique concrète.
Schaeffer was born in Nancy. His parents were both engineers, and at first it seemed that Pierre would also take this as a career. He studied at the École Polytechnique and after a stint as a telecommunications engineer in Strasbourg from 1934, he found a job in 1936 at Office de Radiodiffusion Télévision Française (ORTF) in Paris. It was there that he began to experiment with recorded sounds, convincing the radio station's management to let him use their equipment. He tried playing sounds backwards, slowing them down, speeding them up and juxtaposing them with other sounds, all techniques which were virtually unknown at that time. His first completed piece as a result of these experiments was the Étude aux chemins de fer (1948) which was made from recordings of trains. By that time, Schaeffer had founded the Jeune France group, which had interests in theatre and visual art as well as music. In 1942, he co-founded the Studio d'Essai (later known as the Club d'Essai), which played a role in the activities of the French resistance during World War II, and became a centre of musical activity afterwards. In 1949, Schaeffer met Pierre Henry, and the two founded the Groupe de Recherche de Musique Concrète (GRMC) which received official recognition from ORTF in 1951. They gave him a new studio, which included a tape recorder. This was a significant development for Schaeffer, who had previously had to work with turntables to produce his music. Schaeffer is generally acknowledged as being the first composer to make music using magnetic tape. His continued experimentation led him to publish A la recherche d'une musique concrète (The Search for a Concrete Music) in 1952, which was a summation of his working methods up to that point. Schaeffer left the GRMC in 1953, but reformed it in 1958 with Luc Ferrari and François-Bernard Mâche as the Groupe de Recherches Musicales (GRM). With the founding of the Service de Recherche de l'ORTF in 1960, of which he was made director, Schaeffer began to wind down his compositional activities in favour of sound research and teaching. One of his last pieces came in 1959, the Etudes aux Objets. In his new post, he continued to conduct his research into the sonic properties of objects, publishing an important work on the subject, Traité des objets musicaux, in 1966. In it, he attempts to classify all sound objects (objets sonores, sounds perceived as entities; NOT to be confused with sound-producing physical objects) producing by dividing their characteristics into seven categories, which he called mass; dynamic; harmonic timbre; melodic profile; mass profile; gain; and inflection. Up to now no English translation of this massive work has appeared, although Konrad Boehmer has translated large parts of the work into Dutch. Schaeffer took a number of teaching posts, including an associate professorship at the Paris Conservatoire from 1968 where he taught electronic composition. Towards the end of his life, he suffered from Alzheimer's disease. He died in Aix-en-Provence.
les disques stomoxine présentent : "15oct09_thoux" par drcdrc. chaque pièce a été improvisée le 15 octobre 2009 à l'heure de la sieste, en utilisant seulement des parasites sonores dans mon patch max.
20. November, 19 Uhr The Great Learning - Paragraph 1, produziert von der Staatsoper Stuttgart
21. November, 17 Uhr The Great Learning - Paragraph 5, Choreographie: Annie Vigier, Franck Apertet, Lore Gablier / at the gallery Horace and Walter Cardew: Konzert / at the gallery
Recorded:
live on March 16, 2003 at the Beta Lounge in San Francisco
In
1967, San Francisco’s Fifty
Foot Hose were certainly one of the innovators of a sound that
took Psychedelia to new heights and was captured on the band’s one
record, Cauldron. They are a totally unique hybrid—on one
hand pulsating bay area acid rock, on the other, fractured electronic
freakery, becoming one whole cohesive being. The sci-fi-ish video
game-like artwork hinted at the sounds within, as did the Limelight
label’s pedigree for truly progressive sounds. Band leader, Cork
Marcheschi, used homemade electronic devices to create crude and
experimental soundscapes and instrumental compositions that were
sprinkled throughout the album.
Often starting shows with a
swelling rumble that exploded into the first song, they soon
developed a rabid following on the SF scene, though there was the
occasional totally wrong gig, like when a very-pregnant Nancy had to
perform at a Catholic Girls’ school! Still, the group wowed the
crowds, performing with greats like Chuck
Berry and Fairport
Convention.
Encuentro Internacional de Arte Sonoro TSONAMI Buenos Aires 2009 Una ola de diversidad sonora contemporánea llega a Buenos Aires nuevamente
Del 20 al 25 de octubre en el Centro Cultural Recoleta de la ciudad de Buenos Aires tendrá lugar una muestra de las más diversas expresiones sonoras de la escena contemporánea en la 2ª edición del Encuentro Internacional de Arte Sonoro Tsonami Buenos Aires 2009
8 conciertos, performances, obras multimedia y una exposición permanente de Instalaciones Sonoras, convergiendo así trabajos de artistas Nacionales e Internacionales de diversas estéticas y trayectorias que toman el trabajo del sonido como eje principal.
El Encuentro de Arte Sonoro TSONAMI es una plataforma Independiente, de difusión del trabajo de artistas Latinoamericanos y de intercambio con producciones del resto del mundo vinculadas a las Artes Sonoras. TSONAMI es además un punto de encuentro transdisciplinario en torno al arte contemporáneo y la temática del sonido.
![Lewitt [sp1]](http://c3.ac-images.myspacecdn.com/images02/18/s_8b9e324714af47b3953007025cd76b3a.gif)
