Specific music |
Specific music (French musique concrite) – sound compositions created by recording on tape dec. natural or artificial sounds, their transformation, mixing and editing. Modern The technique of magnetic recording of sound makes it easy to transform sounds (for example, by speeding up and slowing down the movement of the tape, as well as moving it in the opposite direction), mix them (by simultaneously recording several different recordings on tape) and mount them in any sequence. In K. m., to a certain extent, human sounds are used. voices and music. tools, however material for building products. K. m. are all kinds of noise that occurs in the process of life. K. m. – one of the modernist trends of modern. zarub. music. Supporters of K. m. justify their method of composing music by the fact that the use of only the so-called. music sounds supposedly limits the composer, which the composer has the right to use to create his work. any sounds. They consider K. m. as a great innovation in the field of music. art-va, capable of replacing and replacing the former types of music. In fact, the production Composite materials, which break with the system of pitch organization, do not expand, but limit to the utmost the possibilities of expressing a certain art. content. A well-developed technique for creating CM (including the use of special apparatus for “editing” and mixing sounds – the so-called “phonogen” with a keyboard, a tape recorder with 3 disks, etc.) is of known value only for use as a “noise design” of performances, individual episodes of films, etc.
The “inventor” of K. m., its most prominent representative and propagandist, is the French. acoustic engineer P. Schaeffer, who gave this direction and its name. His first “concrete” works date back to 1948: the study “Turniquet” (“Ütude aux tourniquets”), “Railway Study” (“Ütude aux chemins de fer”) and other plays, which in 1948 were transmitted by Franz. radio under the general name. “Noise Concert” In 1949, P. Henri joined Schaeffer; together they created “Symphony for one person” (“Symphonie pour un homme seul”). In 1951 under Franz. radio, an experimental “Group of Studies in the Field of Concrete Music” was organized, which also included composers – P. Boulez, P. Henri, O. Messiaen, A. Jolivet, F. Arthuis and others (some of them created separate works of K. m.). Although the new trend acquired not only supporters, but also opponents, it soon overstepped the national. framework. Not only French people began to come to Paris, but also foreigners. composers who adopted the experience of creating classical music. In 1958, under the chairmanship of Schaeffer, the First International Decade of Experimental Music was held. At the same time, Schaeffer again defined in detail the tasks of his group, which from that time became known as the “Group of Musical Research under Franz. radio and television”. The group enjoys the support of the UNESCO International Music Council. Franz. the magazine “La revue musicale” devoted to the problems of K. m. three special. numbers (1957, 1959, 1960).
References: Questions of musicology. Yearbook, vol. 2, 1955, M., 1956, p. 476-477; Shneerson G., About music alive and dead, M., 1964, p. 311-318; his, French music of the XX century, M., 1970, p. 366; Schaeffer P., A la recherche d une musique concrite, P., 1952; Scriabine Marina, Pierre Boulez et la musique concrite, “RM”, 1952, No 215; Baruch GW, Was ist Musique concrite?, Melos, Jahrg. XX, 1953; Keller W., Elektronische Musik und Musique concrite, “Merkur”, Jahrg. IX, H. 9, 1955; Roullin J., Musique concrite…, in: Klangstruktur der Musik, hrsg. von Fr. Winckel, B., 1955, S. 109-132; Experiences musicales. Musiques concrite electronique extoque, “La Revue musicale”, P., 1959, No 244; Vers une musique experimentale, ibid., R., 1957, No 236 (Numéro spécial); Casini C, L impiego nella colonna sonora délia musica elettronica e della concreta, in: Musica e film, Roma, 1959, p. 179-93; Schaeffer P., Musique concrite et connaissance de l objet musical, “Revue Belge de Musicologie”, XIII, 1959; Experiences. Paris. Juni. 1959. Par le groupe de recherches musicales de la Radiodiffusion-Télévision française…, “La Revue musicale”, P., 1960, No 247; Judd F. C, Electronic music and musique concrite, L., 1961; Schaeffer P., Traité des objets musicaux, P., 1966.
G. M. Schneerson
