Pierre Schaeffer & Musique Concrète

Symphonie pour un homme seul

With Symphonie pour un homme seul (1949–1950), Pierre Schaeffer and Pierre Henry took the first approaches to Musique Concrète to a new level, beyond the scope of simple studies. Although not a multichannel composition, the artificial reverberation used in this piece can be considered a spatial audio production technique [1]:


Pupitre d'espace

The 'pupitre d'espace' was an electromagnetic interface for live diffusion of Musique Concrète.

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Pierre Schaeffer with the 'pupitre d'espace'.


References

2018

  • Christoph von Blumröder. Zur bedeutung der elektronik in karlheinz stockhausens œuvre / the significance of electronics in karlheinz stockhausen's work. Archiv für Musikwissenschaft, 75(3):166–178, 2018.
    [abstract▼] [details] [BibTeX▼]

2015

  • Martha Brech and Henrik von Coler. Aspects of space in Luigi Nono's Prometeo and the use of the Halaphon. In Martha Brech and Ralph Paland, editors, Compositions for Audible Space, Music and Sound Culture, pages 193–204. transctript, 2015.
    [details] [BibTeX▼]
  • Michael Gurevich. Interacting with Cage: realising classic electronic works with contemporary technologies. Organised Sound, 20:290–299, 12 2015. doi:10.1017/S1355771815000217.
    [details] [BibTeX▼]

2011

  • John Chowning. Turenas: the realization of a dream. In Proceedings of the 17th Journées d\rq Informatique Musicale. 2011.
    [details] [BibTeX▼]

2010

2008

  • Marco Böhlandt. “kontakte” – reflexionen naturwissenschaftlich-technischer innovationsprozesse in der frühen elektronischen musik karlheinz stockhausens (1952–1960). Berichte zur Wissenschaftsgeschichte, 31(3):226–248, 2008.
    [details] [BibTeX▼]
  • Jonas Braasch, Nils Peters, and Daniel Valente. A loudspeaker-based projection technique for spatial music applications using virtual microphone control. Computer Music Journal, 32:55–71, 09 2008.
    [details] [BibTeX▼]