"Musique Concrete" (pronounced in French) as I understand it as a theory is
"making music from non-musical sources" (or loosely to that effect). Pierre
Henry would definitly be the starting point. Generally most of those
reflective/silver covers series of Philips records that were released in the
50/60/70's (I think, sorry...at work don't have all these records in front
of me) cover a lot of ground in this area (this includes "Variations Pour
Une Porte et un Soupir" by Pierre Henry which I would rate as the starting
point for the genre). Don't let anyone tell you that listening to 2 sides of
creaking doors isn't a party.
Jeff
on 11/8/00 6:54 PM, Guillaume Grenier at gollum@videotron.ca wrote:
quoted 47 lines On 08/11/00 19:28, Giles Dickerson said in living color:> On 08/11/00 19:28, Giles Dickerson said in living color:
>
>> Could people throw back maybe the 5 or 10 records or artists I
>> absolutely have to listen to to get the musique concrete feel? This is a
>> genre I have not explored and I have a neighbor that seems like he knows
>> what he's talking about and wantsa to share, just want to make sure he's
>> not spouting steam.
>
> Strange, I've been posting stuff on this subject in various forums in the
> last few days...
>
> It all depends on what you classify as "musique concrète"... The titles in
> the following list take the term in a very broad sense (electroacoustic
> music somewhat related to a "French aesthetic"). It is a bit random (what
> currently pops up in my mind), except for the first two.
>
> 2 essential masterpieces:
>
> - "L'Apocalypse de Jean" (Pierre Henry)
> - "De Natura Sonorum" (Bernard Parmegiani) -> Unfortunately out of print
>
> - Other Henry of particular interest: "Messe de Liverpool",
> "Mouvement-Rhythme-Étude", "La Reine Verte" [not currently available in its
> entirety... :(], etc.
> - Other Parmegiani of particular interest: "La Création du Monde",
> "Violostries", "Pour en finir avec le pouvoir d'Orphée", etc.
>
> As you can see, I consider Henry and Parmegiani to be the two biggest names
> in the "genre".
>
> Other stuff:
>
> - Edgar Varèse: "Poème électronique"
> - Iannis Xenakis: "Bohor", "Concret PH", "Orient-Occident", etc.
> - Francis Dhomont: "Sous le regard d'un soleil noir", "Les dérives du signe"
> (these are albums)
> - François Bayle: Son-Vitesse-Lumière (also an album)
>
> etc. etc. etc. That's just a beginning.
>
> Oh, to get an idea of the very beginnings of musique concrète, you have to
> listen to Pierre Schaeffer's various Études (Étude aux chemins de fer, Étude
> aux tourniquets, Étude noire, etc.). The later Études are also quite
> interesting (in fact, they're probably of a greater musical interest than
> the early ones, IMO).
>
> g.
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