417:. In 1935 he began a relationship with a woman named Elisabeth Schmitt, and later in the year married her and with her had his first child, Marie-Claire Schaeffer. He and his new family then officially relocated to Paris in 1936 where began his work in radio broadcasting and presentation. It was there that he began to move away from his initial interests in telecommunications and to pursue music instead, combining his abilities as an engineer with his passion for sound. In his work at the station, Schaeffer experimented with records and an assortment of other devices—the sounds they made and the applications of those sounds—after convincing the radio station's management to allow him to use their equipment. This period of experimentation was significant for Schaeffer's development, bringing forward many fundamental questions he had on the limits of modern
1692:"Musique concrète was an experimental technique that combined pre-recorded sounds natural as well as musical to make musical compositions. Using only the earliest tape recorders, sounds were edited, played backwards and speeded up and down to create fascinating 'sound-scapes'. Pierre Henry was a prolific composer of musique concrète and collaborated with Schaeffer on many compositions. Luciano Berio and Steve Reich are also key figures in musique concrète composition. Karlheinz Stockhausen combined electronic and concrète sounds to become a leader of avant-garde music making."
1370:"Schaeffer taught electronic composition at the Paris Conservatory from 1968 until 1980. His writings include novels, short stories, and essays, as well as theoretical works in music, such as À la recherche d'une musique concrète (1952; 'In Search of a Concrete Music"'), Traité des objets musicaux (1966; 'Treatise on Musical Objects'), and the two-volume Machines à communiquer (1970–72; 'Machines for Communicating')."
2375:
681:
749:. The advent of Schaeffer's manipulation of recorded sound became possible only with technologies that were developed after World War II had ended in Europe. His work is recognized today as an essential precursor to contemporary sampling practices. Schaeffer was among the first to use recording technology in a creative and specifically musical way, harnessing the power of
741:
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 musicians to manipulate recorded sound for the purpose of using it in conjunction with other sounds in order to compose a musical piece. Techniques such as
885:
Transcription pour Piano par Otavio Brandão de l'Étude aux Objets" (1988); "Réponse à Otávio", in text of the program of the Soares Brandão concert at Salle Pleyel in honor of
Schaeffer's eightieth birthday (1990); "Declaration de Pierre Schaeffer sur Ibis et Otavio Soares Brandão" (1990); and "Déclaration de Pierre Schaeffer (Porte Parole)" (1993).
425:
740:
From the contemporary point of view, the importance of
Schaeffer's musique concrète is threefold. He developed the concept of including any and all sounds into the vocabulary of music. At first he concentrated on working with sounds other than those produced by traditional musical instruments. Later
725:"), was coined by Schaeffer in 1948. Schaeffer believed traditionally classical (or as he called it, "serious") music begins as an abstraction (musical notation) that is later produced as audible music. Musique concrète, by contrast, strives to start with the "concrete" sounds that emanate from base
439:
In these experiments, Pierre 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. He had begun working with new contemporaries whom he had met through RTF, and as such his experimentation
884:
as his most faithful disciple, who under his guidance performed a reading of his work "Traité des Objets
Musicaux". This reading aims to create an innovative piano and musical instrumental technique that does not break with tradition. Pierre Schaeffer wrote four texts on the topic: "Apropos de la
1154:
Apart from his published and publicized music, Schaeffer conducted several musical (and specifically musique concrète-related) presentations via French radio. Although these broadcasts contained musical pieces by
Schaeffer they cannot be adequately described as part of his main line of musical
377:
in 1910. His parents were both musicians (his father was a violinist; his mother, a singer), and at first it seemed that Pierre would also take on music as a career. However, his parents discouraged his musical pursuits from childhood and had him educated in engineering. He studied at several
951:), the company which he initially had formed around his creations. Other music was broadcast live (Pierre himself being notable on French radio at the time). Some individual tracks found their way into the use of other artists, with Pierre's work being fronted in mime performances and
1767:
444:, as he challenged traditional musical style with the use of various devices and practices. Eventually, a unique variety of electronic instruments—ones which Schaeffer and his colleagues created, using their own engineering skills—came into play in his work, like the
33:
236:
879:
In the early 1980s, Pierre
Schaeffer distanced himself from the contemporary musical scene after criticizing the avant-garde of the 1950s, which intended to break with tradition. Schaeffer recognized the virtuoso
398:
780:: '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, and reflects on
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2495:
1209:
Schaeffer's literary works, fiction and non-fiction, span a range of genres. He predominantly wrote treatises and essays, but also penned a film review and two plays. An ardent
587:, with a worldwide coverage in order to preserve African rural soundscapes. Ocora also served as a facility to train technicians in African national broadcasting services.
729:
and then abstracts them into a composition. The term musique concrète is then, in essence, the breaking down of the structured production of traditional instruments,
641:, the 78-year-old Schaeffer led a 498-member French rescue team to look for survivors in Leninakan, and worked there until all foreign personnel were asked to leave.
553:
894:
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techniques that are now used worldwide by nearly all record production companies. His collaborative endeavors are considered milestones in the histories of
2605:
2041:, Cedric Maridet, Hans Peter Kuhn, Tatjana Böhme-Mehner, Jelena Novak, Martin Laliberté, Suk-Jun Kim, Darko Fritz, Stephen McCourt, Biljana Srećković, and
652:
in 1995. He was 85 years old. He is buried in
Delincourt in the green Vexin region (55 minutes from Paris) where he used to have his countryside property.
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2236:
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1159:", as they were appropriately named, were mainly narration on Schaeffer's musical theories philosophies rather than compositions in and of themselves.
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1768:"Technology and musique concrète: the technical developments of the Groupe de Recherches Musicales and their implication in musical composition"
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Commercial release of
Schaeffer's work was limited at best; Schaeffer released his work to the public primarily to disseminate a new and
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515:. It played a role in the activities of the French resistance during World War II, and later became a center of musical activity.
95:
Composer, musician, writer, engineer, professor, broadcaster, acoustician, musicologist, record producer, inventor, entrepreneur,
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1981:
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in 1967. However, she became more interested in tape feedback and began working on her own pieces. She composed several works (
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has named several of its past events after
Schaeffer. Pierre himself was a prize winner at the awards more than once.
325:
Schaeffer's writings (which include written and radio-narrated essays, biographies, short novels, a number of musical
136:
881:
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2378:
2222:
1944:
275:—and the various arts of music, literature and radio presentation after the end of World War II, as well as his
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857:
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379:
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1602:
976:
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Below is a list of
Schaeffer's musical works, showing his compositions and the year(s) they were recorded.
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Over the years, Schaeffer mentored a number of students who went on to have successful careers, including
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Today, Schaeffer is considered one of the most influential experimental, electroacoustic and subsequently
804:, learned to cut, splice and edit tape using his techniques. She then went on to work as an assistant to
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1745:"The 'Groupe de Recherches Musicales' Pierre Schaeffer, Pierre Henry & Jacques Poullin, France 1951"
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to produce music. Schaeffer is generally acknowledged as being the first composer to make music using
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2010:
1932:
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Unknown author (reproduction via
Diliberto, John 2005: Electronic Musician) 1986: Electronic Musician
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1933:
Textes de Pierre Schaeffer à propos d´Otavio Henrique Soares Brandão, by Ibis Soares Brandão – Issuu
1354:
655:
Schaeffer was thereafter remembered by many of his colleagues with the title, "Musician of Sounds".
634:
from 1968 to 1980 after creating a "class of fundamental music and application to the audiovisual."
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445:
341:
334:
303:
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2152:
1852:
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861:
781:
418:
410:
357:
291:
280:
401:, although it is not verifiable as to whether or not he ever actually attended this university.
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2026:
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853:
833:
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299:
64:
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472:
In 1938 Schaeffer began his career as a writer, penning various articles and essays for the
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159:
1945:"Otavio Henrique Soares Brandao – Piano – Resposta a Schaeffer I, by Otavio Soares Brandão"
561:") in 1952, which was a summation of his working methods up to that point. His only opera,
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and several plays) are often oriented towards his development of the genre, as well as the
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83:
1029:(1950; collaboration with Pierre Henry; revised versions in 1953, 1955, and 1966 (Henry))
251:; 14 August 1910 – 19 August 1995) was a French composer, writer, broadcaster, engineer,
409:
Later in 1934 Schaeffer entered his first employment as an engineer, briefly working in
32:
2014:
1493:
1393:
1191:
Ten Years of Radiophonic Experiments from the 'Studio' to the 'Club' d'Essai: 1942–1952
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1985:
583:("Office de Coopération Radiophonique") alongside composer, pianist, and musicologist
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539:. This was a significant development for Schaeffer, who previously had to work with
294:, at the core of which stands his role as the chief developer of a unique and early
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Schaeffer often created his "concrete music" with real-world sounds. The notable
487:, Schaeffer began to write religiously based pieces, and in the same year as his
382:, located in his hometown of Nancy. Afterwards he moved westwards in 1929 to the
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535:) in the French Radio Institution. This gave him a new studio, which included a
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527:, with whom he collaborated on many compositions, and in 1951, he founded the
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form of music. The original production of his marketed work was done by the "
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Schaeffer is most widely and currently recognized for his accomplishments in
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326:
272:
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1909:
829:) by processing the feedback between two tape recorders and a microphone.
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1133:(1962; music for a radio production, collaboration with Claude Arrieu)
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Schaeffer left the GRMC in 1953 and reformed the group in 1958 as the
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2019:
Proceedings of the International Conference Pierre Schaeffer: mediArt
1948:
955:. Now after his death, various musical production companies, such as
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Furthermore, he emphasized the importance of "playing" (in his term,
695:
511:, later Club d'Essai, was founded in 1942 by Pierre Schaeffer at the
344:, having been the first composer to utilize a number of contemporary
424:
2214:
2017:, Seadeta Midžić, Daniel Teruggi, and Jerica Ziherl (eds.) (2011).
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in Paris and finally completed his education in the capital at the
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679:
580:
480:, provided a critical examination of musical aspects of the time.
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1035:(1951; pantomime, collaboration with Pierre Henry. Also known as
2141:
1704:"Pierre Schaeffer, 1910–1995: The Founder of "Musique Concrète""
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take ordinary sounds and use them to create a finished product.
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alongside him for Schaeffer's last work and second compilation,
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and tape splicing were used in his research, often comparing to
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2218:
1202:
For a complete list of literary works by Pierre Schaeffer, see
737:
itself, in an attempt to reconstruct music from the bottom up.
1982:"FAU Electronic Music - Musique Concrete: History and Figures"
889:
432:(1974) that consisted of 80 loudspeakers for tape playback at
225:
208:
191:
171:
165:
1816:[Electronic Vibrations: A sound conquers the world].
1599:
Cross, Lowell : Forum: Electronic Music and Computer Research
397:. He may have also received a similar qualification from the
776:, which carries the same double meaning as the English verb
694:"), for instance, featured recordings of the noises made by
393:
Schaeffer received a diploma in radio broadcasting from the
1490:
Palombini, Carlos 1999: The Electronic Musicological Review
1386:"Pierre Schaeffer & Pierre Henry: Pioneers in Sampling"
1057:(1952; incidental music, collaboration with Monique Rollin)
836:
went on to great international success. Jarre's 1997 album
761:, whom he admired and from whose work he drew inspiration.
219:
199:
182:
306:. The genre emerged in Europe from the utilization of new
216:
378:
universities in this inclination, the first of which was
267:). His innovative work in both the sciences—particularly
2127:
2082:
Traité des objets musicaux (Treatise on Musical Objects)
788:, from the standpoint of Schaeffer's work and research.
1427:
Snyder, Jeff 2007: CsUNIX1/Lebanon Valley College: 1, 3
502:
2063:
Communication et musique en France entre 1936 et 1986
283:
garnered him widespread recognition in his lifetime.
222:
185:
1676:
The Foundry Creative Media Company Ltd. 2005: sec. 2
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Schaeffer's radio narratives include the following:
1015:(1950; radio score, collaboration with Pierre Henry)
945:" (a.k.a. GRM; now owned and operated by INA or the
205:
188:
162:
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2261:
1814:"Electronic Vibrations: Ein Sound erobert die Welt"
1069:(1957; film score, collaboration with Pierre Henry)
551:. His continued experimentation led him to publish
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23:
648:later in his life, and died from the condition in
579:In 1954 Schaeffer founded traditional music label
523:In 1949, Schaeffer met the percussionist-composer
965:have been granted rights to distribute his work.
440:deepened. Schaeffer's work gradually became more
399:École nationale supérieure des télécommunications
1901:Pink Noises: Women on Electronic Music and Sound
768:) in the creation of music. Schaeffer's idea of
701:
503:Club d'essai and the origin of musique concrète
476:, a French journal of music. His first column,
1527:Anonymous/Various, submitted 2003: Discogs.com
844:also made a tribute to the man, composing his
2403:
2230:
1662:
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1582:
1580:
895:It Takes A Nation of Millions To Hold Us Back
576:(GRM) (at first without "s", then with "s").
8:
2496:Academic staff of the Conservatoire de Paris
2105:. London, U.K.: Rer Quarterly Vol 2,1, 1987.
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1233:; published 1939) a religiously based play.
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446:chromatic, sliding and universal phonogenes
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2237:
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1632:Music of the Twentieth-century Avant-garde
1523:"Pierre Schaeffer: Profile on Discogs.com"
31:
20:
2065:(in French). Paris, France: L'Harmattan.
2049:: Muzej moderne i suvremene umjetnosti.
413:for the Postes et Télécommunications in
1848:"As Hope Dies, Quake Rescuers Pull Out"
1341:
1139:(1975; collaboration with Bernard Durr)
800:, an apprentice of Pierre Schaeffer at
529:Groupe de Recherche de Musique Concrète
519:Groupe de Recherche de Musique Concrète
261:Groupe de Recherche de Musique Concrète
2084:(in French). Paris, France: Le Seuil.
1097:(1958; collaboration with Luc Ferrari)
2146:– Unofficial website of Club d'Essai
554:À la Recherche d'une Musique Concrète
246:
7:
1204:the bibliography of Pierre Schaeffer
1051:(1952; music for a radio production)
456:and a host of other devices such as
2033:, Francisco Rivas, Seadeta Midžić,
1155:output. This is because the radio "
852:. His other notable pupils include
757:instruments in a manner similar to
2606:20th-century French male musicians
2134:Institut national de l'audiovisuel
997:Variations sur une flûte mexicaine
948:Institut national de l'audiovisuel
703:Sound is the vocabulary of nature.
598:, who called his mentor the first
14:
2601:20th-century French musicologists
2129:Le Groupe de Recherches Musicales
513:Radiodiffusion Nationale (France)
2566:Inventors of musical instruments
2486:20th-century classical composers
2374:
2373:
1559:Couprie, Pierre & OLATS 2000
1457:Couprie, Pierre & OLATS 2000
1453:"Les écrits de Pierre Schaeffer"
866:Micheline Coulombe Saint-Marcoux
846:Écho d'Orphée, Pour P. Schaeffer
428:Pierre Schaeffer presenting the
158:
2591:French people of German descent
2511:Electroacoustic music composers
2102:Interview with Pierre Schaeffer
1970:The Effects of Musique Concrete
1298:The Non-Visual Element of Films
784:, or perhaps more specifically
1879:The Oxford Dictionary of Music
1095:Exposition française à Londres
943:Groupe de Recherches Musicales
922:Qwartz Electronic Music Awards
882:Otavio Henrique Soares Brandão
698:running along railroad tracks.
491:he published his first novel:
388:École supérieure d'électricité
314:era, following the advance of
1:
2536:20th-century French inventors
2531:French experimental musicians
1555:"Pierre Schaeffer Biographie"
1305:In Search of a Concrete Music
1167:The Shell Filled With Planets
786:electroacoustic improvisation
559:In Search of a Concrete Music
2596:Musicians from Nancy, France
2278:Symphonie pour un homme seul
2025:, papers by Daniel Teruggi,
1824:. 19 October 2022. 8:00-8:50
1486:"Musique Concrète Revisited"
1026:Symphonie pour un homme seul
574:Groupe de Recherche Musicale
468:Beginnings of writing career
151:Pierre Henri Marie Schaeffer
47:Pierre Henri Marie Schaeffer
2586:French male opera composers
2526:French electronic musicians
2501:French acoustical engineers
2491:20th-century French writers
2177:Electronic Music Foundation
2029:, Jocelyne Tournet-Lammer,
1702:de Reydellet, Jean (1996).
1590:Electronic Music, 1948–1953
1561:(in French). Archived from
1459:(in French). Archived from
1359:Encyclopædia Britannica: ¶2
1254:The Guardian of The Volcano
1107:Nocturne aux chemins de fer
840:is dedicated to Schaeffer.
772:comes from the French verb
2622:
2571:French writers about music
2521:French classical composers
2506:École Polytechnique alumni
1670:A-Z of Instruments – Other
1312:Traité des objets musicaux
1260:Prelude, Chorale and Fugue
1201:
1075:(1958; collaboration with
1005:(1950; collaboration with
975:(1948; collaboration with
673:
667:
86:, Bouches-du-Rhône, France
2425:
2371:
2252:
2099:Pierre Schaeffer (1987).
2080:Pierre Schaeffer (1966).
1904:. Duke University Press.
1784:10.1017/S1355771807001914
1318:Solfège de l'objet sonore
991:Suite pour 14 instruments
460:and some of the earliest
30:
1766:Teruggi, Daniel (2007).
1242:Novels and short stories
1185:From Claudel to Brangues
1115:(1959; incidental music)
1109:(1959; incidental music)
691:Étude aux chemins de fer
644:Schaeffer suffered from
639:1988 Armenian earthquake
637:In the aftermath of the
369:Early life and education
2556:French record producers
2551:French radio presenters
2345:French electronic music
2061:Martial Robert (1999).
1636:. Bloomsbury Academic.
782:freely improvised sound
569:"), premiered in 1953.
2581:French opera composers
2561:French Roman Catholics
2546:French music theorists
2516:Experimental composers
2435:Jean-Yves Daniel-Lesur
1898:Rodgers, Tara (2010).
1822:Westdeutscher Rundfunk
1708:Computer Music Journal
1627:Sitsky, Larry (2002).
1292:America, We Ignore You
1013:La course au kilocycle
905:3 Feet High And Rising
711:
699:
436:
373:Schaeffer was born in
155:English pronunciation:
141:Prospective 21e Siècle
2310:RTF Electronic Studio
2270:Cinq études de bruits
2021:, with a foreword by
1910:10.1215/9780822394150
1119:Simultané camerounais
1083:Etude aux sons animés
984:Cinq études de bruits
832:Pierre's GRM student
683:
610:) came in 1959: the "
427:
405:Early experimentation
380:Lycée Saint-Sigisbert
277:anti-nuclear activism
244:French pronunciation:
2541:French music critics
1846:(16 December 1988).
1221:; published 1938)—a
1179:An Hour of the World
1150:Broadcast narratives
1067:Sahara d'aujourd'hui
1049:Les paroles dégelées
626:Schaeffer became an
622:Later life and death
342:electronic musicians
2354:Schaefferian theory
2163:École Polytechnique
1978:History and Figures
1324:Music and Acoustics
1225:or short story—and
973:Concertino-Diapason
792:Influences on music
733:, rhythm, and even
646:Alzheimer's disease
632:Paris Conservatoire
628:associate professor
395:École Polytechnique
384:École Polytechnique
335:philosophy of music
16:French musicologist
2340:Experimental music
1853:The New York Times
1747:. 26 December 2013
1496:on 23 October 2008
1423:"Pierre Schaeffer"
1396:on 7 December 2009
1355:"Pierre Schaeffer"
1213:, Schaeffer wrote
1137:Le trièdre fertile
1055:Scènes de Don Juan
1045:(1952; film score)
862:Bernard Parmegiani
810:Jouet Electronique
700:
437:
419:musical expression
411:telecommunications
292:experimental music
281:cultural criticism
2458:
2457:
2385:
2384:
2363:Spectromorphology
2161:community of the
2091:978-2-02-002608-6
2055:978-953-6501-78-6
2037:, Brian Willems,
2011:Dalibor Davidović
1919:978-0-8223-4661-6
1198:Selected writings
1173:Cantata to Alsace
1089:Etude aux allures
854:Joanna Bruzdowicz
834:Jean Michel Jarre
616:Études aux Objets
596:Jean Michel Jarre
310:developed in the
300:avant-garde music
156:
148:
147:
103:Years active
37:Schaeffer in 1973
2613:
2576:Musique concrète
2471:Pierre Schaeffer
2450:Pierre Schaeffer
2445:Olivier Messiaen
2412:
2405:
2398:
2389:
2377:
2376:
2350:Musique concrète
2335:Acousmatic sound
2330:Acousmatic music
2246:Pierre Schaeffer
2239:
2232:
2225:
2216:
2205:Pierre Schaeffer
2194:Pierre Schaeffer
2183:Pierre Schaeffer
2172:Pierre Schaeffer
2167:
2154:Pierre Schaeffer
2149:
2138:
2117:Pierre Schaeffer
2106:
2095:
2076:
1998:
1997:
1995:
1993:
1984:. Archived from
1974:Musique Concrete
1967:
1961:
1960:
1958:
1956:
1947:. Archived from
1941:
1935:
1930:
1924:
1923:
1895:
1889:
1875:Kennedy, Michael
1871:
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1732:
1731:
1699:
1693:
1691:
1689:
1687:
1682:on 22 April 2003
1678:. Archived from
1664:
1655:
1654:
1652:
1650:
1624:
1618:
1617:
1615:
1613:
1607:
1601:. Archived from
1596:
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1572:
1570:
1551:
1538:
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1533:
1519:
1506:
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1492:. Archived from
1482:
1473:
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1468:
1449:
1443:
1442:
1440:
1438:
1429:. Archived from
1419:
1406:
1405:
1403:
1401:
1392:. Archived from
1382:
1371:
1369:
1367:
1365:
1351:
1101:Etude aux objets
977:J.-J. Grunenwald
892:albums, such as
870:Armando Santiago
850:L'Œuvre Musicale
715:musique concrète
709:
708:Pierre Schaeffer
676:Acousmatic music
670:Musique concrète
664:Musique concrète
612:Study of Objects
320:acousmatic music
308:music technology
304:musique concrète
250:
245:
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127:Phonurgia Nova,
79:
56:
54:
35:
25:Pierre Schaeffer
21:
2621:
2620:
2616:
2615:
2614:
2612:
2611:
2610:
2461:
2460:
2459:
2454:
2421:
2419:La jeune France
2416:
2386:
2381:
2367:
2318:
2301:La Jeune France
2284:
2257:
2248:
2243:
2165:
2148:(in Portuguese)
2147:
2136:
2113:
2098:
2092:
2079:
2073:
2060:
2043:Elzbieta Sikora
2031:Dieter Kaufmann
2002:
2001:
1991:
1989:
1988:on 18 June 2013
1980:
1968:
1964:
1954:
1952:
1951:on 24 June 2021
1943:
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1927:
1920:
1897:
1896:
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1868:
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1772:Organised Sound
1765:
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1748:
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1735:
1701:
1700:
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1683:
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1608:on 17 July 2011
1605:
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1384:
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1374:
1363:
1361:
1353:
1352:
1343:
1333:
1288:
1269:
1248:Chlothar Nicole
1244:
1239:
1223:Christian novel
1219:Clotaire Nicole
1215:Chlothar Nicole
1207:
1200:
1152:
1019:L'oiseau r.a.i.
935:
930:
918:
874:Elzbieta Sikora
827:Vice Versa, etc
794:
710:
707:
678:
672:
666:
661:
650:Aix-en-Provence
624:
585:Charles Duvelle
521:
505:
497:Christian novel
493:Chlothar Nicole
470:
407:
371:
366:
316:electroacoustic
259:and founder of
248:[ʃɛfɛʁ]
243:
235:
234:
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212:
195:
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161:
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144:
97:cultural critic
87:
84:Aix-en-Provence
81:
77:
68:
58:
52:
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49:
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38:
26:
17:
12:
11:
5:
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2347:
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2326:
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2317:
2316:
2314:Studio d'Essai
2311:
2308:
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2298:
2292:
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2285:
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2274:
2265:
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2250:
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2244:
2242:
2241:
2234:
2227:
2219:
2213:
2212:
2201:
2190:
2179:
2168:
2157:at the online
2150:
2139:
2124:
2123:
2112:
2111:External links
2109:
2108:
2107:
2096:
2090:
2077:
2071:
2058:
2027:François Bayle
2007:
2006:
2000:
1999:
1962:
1936:
1925:
1918:
1890:
1866:
1835:
1805:
1778:(3): 213–231.
1758:
1733:
1694:
1656:
1642:
1619:
1588:"Excerpt from
1576:
1565:on 10 May 2020
1539:
1507:
1474:
1463:on 10 May 2020
1444:
1433:on 15 May 2008
1407:
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980:
962:Phonurgia Nova
934:
931:
929:
926:
917:
914:
802:Studio d'Essai
798:Éliane Radigue
793:
790:
723:concrete music
721:", literally "
705:
686:Railroad Study
668:Main article:
665:
662:
660:
657:
623:
620:
594:and the young
592:Éliane Radigue
520:
517:
509:Studio d'Essai
504:
501:
474:Revue Musicale
469:
466:
462:tape recorders
450:François Bayle
406:
403:
370:
367:
365:
362:
269:communications
146:
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131:
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82:
80:(aged 85)
76:19 August 1995
74:
70:
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59:
57:14 August 1910
46:
44:
40:
39:
36:
28:
27:
24:
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2440:André Jolivet
2438:
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2430:Yves Baudrier
2428:
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2262:Musical works
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2078:
2074:
2072:2-7384-7975-8
2068:
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2032:
2028:
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2020:
2016:
2012:
2009:
2008:
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2003:
1987:
1983:
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1966:
1963:
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1937:
1934:
1929:
1926:
1921:
1915:
1911:
1907:
1903:
1902:
1894:
1891:
1888:
1887:0-19-861459-4
1884:
1881:, 985 pages,
1880:
1876:
1870:
1867:
1855:
1854:
1849:
1845:
1839:
1836:
1823:
1820:(in German).
1819:
1815:
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1657:
1645:
1643:9780313296895
1639:
1635:
1634:
1631:
1630:Excerpt from
1623:
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1279:Secular Games
1277:
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1131:L'aura d'Olga
1129:
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1099:
1096:
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1063:(1953; opera)
1062:
1059:
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1034:
1033:Toute la lyre
1031:
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867:
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858:Jorge Antunes
855:
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811:
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783:
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771:
767:
762:
760:
759:Luigi Russolo
756:
752:
748:
747:sound collage
744:
738:
736:
732:
728:
724:
720:
717:(French for "
716:
704:
697:
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687:
682:
677:
671:
663:
658:
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582:
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568:
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560:
557:(French for "
556:
555:
550:
549:magnetic tape
546:
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537:tape recorder
534:
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92:Occupation(s)
90:
85:
75:
71:
66:
62:
45:
41:
34:
29:
22:
19:
2449:
2358:Sound object
2323:Developments
2276:
2268:
2255:Bibliography
2245:
2204:
2193:
2182:
2171:
2153:
2143:Club d'Essai
2142:
2128:
2101:
2081:
2062:
2035:Marc Battier
2018:
1990:. Retrieved
1986:the original
1977:
1973:
1969:
1965:
1953:. Retrieved
1949:the original
1939:
1928:
1900:
1893:
1878:
1869:
1857:. Retrieved
1851:
1844:Keller, Bill
1838:
1826:. Retrieved
1817:
1808:
1775:
1771:
1761:
1749:. Retrieved
1714:(2): 10–11.
1711:
1707:
1697:
1684:. Retrieved
1680:the original
1675:
1669:
1647:. Retrieved
1633:
1629:
1622:
1610:. Retrieved
1603:the original
1598:
1589:
1567:. Retrieved
1563:the original
1558:
1530:. Retrieved
1526:
1498:. Retrieved
1494:the original
1489:
1465:. Retrieved
1461:the original
1456:
1447:
1435:. Retrieved
1431:the original
1426:
1400:30 September
1398:. Retrieved
1394:the original
1389:
1362:. Retrieved
1358:
1323:
1317:
1311:
1303:
1297:
1291:
1278:
1272:
1259:
1253:
1247:
1230:
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1172:
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1142:
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1112:
1106:
1100:
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1088:
1082:
1072:
1066:
1060:
1054:
1048:
1042:
1036:
1032:
1024:
1018:
1012:
1007:Pierre Henry
1003:Bidule en ut
1002:
996:
990:
982:
972:
967:
960:
957:Disques Adès
956:
946:
942:
936:
919:
903:
900:Public Enemy
893:
887:
878:
849:
845:
842:Pierre Henry
838:Oxygene 7-13
831:
826:
823:
820:
818:Stress-Osaka
817:
813:
809:
806:Pierre Henry
795:
773:
769:
765:
763:
755:experimental
743:tape looping
739:
735:music theory
722:
718:
714:
712:
702:
689:
685:
654:
643:
636:
625:
615:
611:
607:
603:
602:. His last "
589:
578:
573:
571:
566:
562:
558:
552:
532:
528:
525:Pierre Henry
522:
506:
492:
489:Basic Truths
488:
482:
478:Basic Truths
477:
473:
471:
438:
408:
392:
372:
358:experimental
339:
337:in general.
324:
285:
264:
260:
253:musicologist
150:
149:
133:Disques Adès
78:(1995-08-19)
18:
2481:1995 deaths
2476:1910 births
2289:Foundations
2166:(in French)
2137:(in French)
2039:Leigh Landy
2015:Nikša Gligo
1818:WDR Klassik
1751:28 February
1649:26 December
1612:17 December
1286:Non-fiction
1077:Luc Ferrari
939:avant-garde
814:Elemental I
600:disc jockey
541:phonographs
458:gramaphones
454:Acousmonium
442:avant-garde
430:Acousmonium
390:, in 1934.
257:acoustician
2465:Categories
1828:18 October
1686:7 December
1569:6 December
1532:4 December
1500:5 December
1437:3 December
1364:4 December
1331:References
1043:Masquerage
910:De La Soul
751:electronic
719:real music
688:(French: "
674:See also:
567:Orpheus 53
545:turntables
495:— a short
483:An ardent
415:Strasbourg
354:electronic
331:theoretics
288:electronic
53:1910-08-14
2199:BBC Music
2023:Ivo Malec
1992:6 January
1859:10 August
1792:1469-8153
1720:0148-9267
1229:(French:
1217:(French:
1061:Orphée 53
1037:Orphée 51
796:In 1955,
727:phenomena
713:The term
563:Orphée 53
346:recording
327:treatises
302:known as
273:acoustics
106:1942–1990
2379:Category
2188:AllMusic
1877:(2006),
1800:37881462
1211:Catholic
1073:Continuo
824:, Ohmnht
706:—
485:Catholic
350:sampling
312:post-war
118:GRMC/GRM
67:, France
65:Lorraine
2210:Discogs
2175:at the
2132:at the
2005:Sources
1955:24 June
1728:3681324
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1157:essays
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1127:(1961)
1125:Phèdre
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696:trains
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