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Pierre Schaeffer’s In Search of a Concrete Music (À la recherche d’une musique concrète) has long been considered a classic text in electroacoustic music and sound recording. Now Schaeffer’s pioneering work—at once a journal of his experiments in sound composition and a treatise on the raison d’être of “concrete music”—is available for the first time in English translation. Schaeffer’s theories have had a profound influence on composers working with technology. However, they extend beyond the confines of the studio and are applicable to many areas of contemporary musical thought, such as defining an ‘instrument’ and classifying sounds. Schaeffer has also become increasingly relevant to DJs and hip-hop producers as well as sound-based media artists. This unique book is essential for anyone interested in contemporary musicology or media history.
Price: $75.00
Pages: 244
Publisher: University of California Press
Imprint: University of California Press
Series: California Studies in 20th-Century Music
Publication Date:
26 November 2012
Trim Size: 9.00 X 6.00 in
ISBN: 9780520265738
Format: Hardcover
BISACs:
“Collects Schaeffer’s journals and other writings about his musique concrete, which he created by manipulating recorded sounds.”
Composer Pierre Schaeffer (1910–1995) was the inventor of musique concrète music created by combining and manipulating recorded sounds (rather than being played on conventional musical instruments).
Translators:
John Dack is Senior Research Fellow and Director of the Sonic Arts Department at Middlesex University. Christine North is retired as Lecturer in French at Middlesex University.
Translators:
John Dack is Senior Research Fellow and Director of the Sonic Arts Department at Middlesex University. Christine North is retired as Lecturer in French at Middlesex University.
Translators’ Note
I. First Journal of Concrete Music (1948–1949)
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
Chapter 7
II. Second Journal of Concrete Music (195–1951)
Chapter 8
Chapter 9
Chapter 1
Chapter 11
Chapter 12
Chapter 13
III. The Concrete Experiment in Music (1952)
Chapter 14. The Concrete Approach
Chapter 15. The Experimental Method
Chapter 16. The Musical Object
Chapter 17. From the Object to Language
Chapter 18. From the Object to the Subject
Chapter 19. Inventory
Chapter 2. Farewells to Concrete Music
IV. Outline of a Concrete Musical Training
Index
I. First Journal of Concrete Music (1948–1949)
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
Chapter 7
II. Second Journal of Concrete Music (195–1951)
Chapter 8
Chapter 9
Chapter 1
Chapter 11
Chapter 12
Chapter 13
III. The Concrete Experiment in Music (1952)
Chapter 14. The Concrete Approach
Chapter 15. The Experimental Method
Chapter 16. The Musical Object
Chapter 17. From the Object to Language
Chapter 18. From the Object to the Subject
Chapter 19. Inventory
Chapter 2. Farewells to Concrete Music
IV. Outline of a Concrete Musical Training
Index