Machine Songs V: Pierre Schaeffer: From Research into Noises to Experimental Music

Palombini, Carlos

doi:10.2307/3680939

Cited by 20 publications

(5 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…Conversely, Pierre Schaeffer's musique concrète piece Etude aux chimens de fer (1948) is metamorphic in that it transformed its constituent materials, but it is not anachronistic since those constituent materials (recorded sounds of trains) were not antiquated. [14] Hyde's model of neoclassicism requires the confluence of both processes. That is, a piece exhibits metamorphic anachronism only if it first adopts an anachronistic idea and then applies some metamorphic process by which the anachronism becomes "modern."…”

Section: Mode I: Metamorphic Anachronismmentioning

confidence: 99%

“Reminisces of a Dead World”: Neoclassical Impulses in Stockhausen’s Gesang der Jünglinge

Faulkenberry¹

2021

ArestyRURJ

View full text Add to dashboard Cite

In the years following World War II, integral serialist composers declared their intent to defy all previous musical conventions and eradicate all “rem-inisces of a dead world” from their music. Karlheinz Stockhausen was no exception, asserting his desire “to avoid everything which is familiar, generally known or reminiscent of music already composed.” However, Stockhausen’s Gesang der Jünglinge, de-spite its reputation for technical innovation, bears a strong connection to prior musical traditions. In this regard, Stockhausen resembled the neoclassical school of composers that sought to accommodate antiquated musical materials within a modern con-text.To demonstrate these similarities, I apply to Gesang a model of neoclassicism developed by Martha M. Hyde, a scholar on twentieth-century mu-sic. Hyde identifies two modes by which a neoclassi-cal piece “accommodates antiquity”: metamorphic anachronism and allegory. I argue both are present in Gesang. First, Stockhausen adopts elements of the sacred vocal tradition—including a child’s voice and antiphonal writing—and morphs them into something modern. Second, Stockhausen uses the Biblical story on which Gesang is based as an alle-gory for his own conflicted relationship with the mu-sical past. This analysis reframes Gesang’s signifi-cance and connects Stockhausen’s work to seem-ingly unrelated trends in twentieth-century musical thought.

show abstract

Section: Mode I: Metamorphic Anachronismmentioning

confidence: 99%

“Reminisces of a Dead World”: Neoclassical Impulses in Stockhausen’s Gesang der Jünglinge

Faulkenberry¹

2021

ArestyRURJ

View full text Add to dashboard Cite

show abstract

“…The history of electroacoustic music has produced many striking examples which highlights these experiences (for a good overview see Zvonar 2000). Early implementations of trajectories sonores were used by Schaeffer and Pierre Henry during the performance of their work Symphonie pour un homme seul (1949/50), where the work was spatialised over four speakers (Palombini 1993). Schaeffer and Henry used one elevated speaker which provides an indication that they did specifically consider the compositional value of elevated sound and possibly did understand that they could achieve a higher degree of listener envelopment this way.…”

Section: Perceiving Spacementioning

confidence: 99%

Sound Objects and Spatial Morphologies

Holbrook

2019

Org. Sound

View full text Add to dashboard Cite

One of Pierre Schaeffer’s achievements in his musical research was his proposal of the sound object as a basic unit of musical experience and his insistence on listening as a main focus of research. Out of this research grew a radical new music theory of sound-based composition. This article will draw on this extensive research to explore the spaces where this music is heard and present the claim that the space in which music is experienced is as much a part of the music as the timbral material itself. The key question here is the changes made to timbral material through acousmatic spatial listening and the subjective analysis affordance of the listeners’ placement and perspective. These consequences are studied from a phenomenological and psychoacoustic perspective and it is suggested that Schaeffer’s research on timbral and musical concepts can be extended to include spatial features.

show abstract

“…Segundo o músico, o resultado final foi conseguindo mixando-se dois conjuntos de sons produzidos separadamente. Há uma série de zumbidos produzidos Galaxia (São Paulo, online), ISSN 1982-2553, n. 38, mai-ago., 2018, p. 127-139. http://dx.doi.org/10.1590/1982-2554233135 com a ajuda de um teclado eletrônico -os sons musicais foram processados em diferentes velocidades de reprodução, seguindo uma das técnicas mais tradicionais das experiências em musique concrète popularizadas por Pierre Schaeffer (PALOMBINI, 1993), e ganharam o acréscimo de um reverb pesado. Para conseguir essa reverberação, Bell e Tobe Hooper gravaram tudo com microfones de contato colocados na ponta de um tubo de papelão, enquanto a fonte dos sons ficava na outra ponta.…”

Section: O Contexto De Produçãounclassified

Um triunfo de aprendizes: o som em O massacre da Serra Elétrica

Carreiro¹

2018

Galáxia (São Paulo)

View full text Add to dashboard Cite

Resumo Filme influente na consolidação de uma estética semidocumental muito popular no cinema de horror contemporâneo, O massacre da serra elétrica (The Texas chain saw massacre, Tobe Hooper, 1974) ganhou status de inovador, com o passar dos anos, por ter antecipado a explosão do subgênero slasher, e por causa da crueza das imagens. No entanto, pouco se fala do caráter arrojado dos sons que contribuem para assustar o público do filme. Este ensaio tem o objetivo de reconstituir o processo criativo da trilha sonora, destacando a presença majoritária de estudantes e aprendizes na equipe responsável pelo sound design, e enfatizando o modo pelo qual o relativo desconhecimento das práticas profissionais de pós-produção embaralhou as fronteiras entre música e efeitos sonoros, reforçando uma tendência estilística inovadora que influencia o cinema contemporâneo.

show abstract

Machine Songs V: Pierre Schaeffer: From Research into Noises to Experimental Music

Cited by 20 publications

References 0 publications

“Reminisces of a Dead World”: Neoclassical Impulses in Stockhausen’s Gesang der Jünglinge

“Reminisces of a Dead World”: Neoclassical Impulses in Stockhausen’s Gesang der Jünglinge

Sound Objects and Spatial Morphologies

Um triunfo de aprendizes: o som em O massacre da Serra Elétrica

Contact Info

Product

Resources

About