Re: A Musicology of Ea/Cm

Subject: Re: A Musicology of Ea/Cm
From: Carlos Palombini (
Date: Wed Oct 13 1999 - 11:45:22 EDT

Simon Atkinson escreveu:

> J'ai une petite question pour les gens francophone...

Bien que je ne sois pas exactement francophone...

> Excusez mon ignorance, mais c'etait quand exactement que le monde
> francophone a jete l'expression "musique concrete" et adopte le
> mot (le mot horrible...) electroacoustique?

The expression "musique concrete" was invented by Schaeffer, who putit
down is his diaries probably early in 1948. I say probably because
the diaries were published early in 1950 as the article "Introduction à
la musique concrète" (*Polyphonie* 6: *La musique mecanisée*) and
he might have reworked the diaries for publication at any point between
1948 and 1949, as he often did. However, this was a private term. At the
early days of musique concrete, musique concrete was publicly known as
*recherche de bruits*. It was probably only after the success of the
"musique concrete" broadcast, called *concert de bruits* (and not
de musique concrete*), on Tuesday, 5 October 1948 (if my memory serves
me well), that musique concrete started becoming publicly known as such.

In the version of the diaries that appears in "Introduction..." (1952),
the term
is first used in an entry dated from 15 April 1948 (p. 39). In the second
which appears in *À la recherche d'une musique concrète*, the same
reworked) entry is dated 15 May 1948 (p. 21-2). Besides, the expression
in the introduction to "Introduction...": "J'écris ces lignes à l'orée du
but I cannot be sure as to whether this introduction was written before,
during or
after "Introduction...".

[Je pense que ni même Chion t'aurait fournit tant de détailles...]

If Schaeffer is to be believed (Pierret, *Entretiens avec Pierre
Schaeffer*, 1969,
p. 52), the term *électroacoustic* was propunded by himself. After
explaining to
Pierret that musique concrete was not launched as a fashion but as a
(from sound material to sound organization, rather than from the score to
performance), he says:

"Et quand, par la suite, j'ai voulu éviter l'équivoque, je n'ai pas
réussi à lancer
l'appelation 'électroacoustique' qui n'est pas engageante il est vrai.
Tout le
monde dit électronique... ce qui est impropre."

> Et comment et pourquoi?

Because, as you may have heard, Stockhausen blended samples and
electronicsounds in 1956 in *Gesange*, as Henry did in the same year in
*Haut voltage*,
and as Berio did in 1958 in *Thema*, and the dichotomy
no longer held, hence a new designation was needed.

> ps I don't think I like this "Photoshop Music" very much!
> Photoshop's for _visual_ images!

And who's said music hasn't got anything visual about it? Composers
spentcenturies organizing notes on paper!

> And is guilty of such a shit-load of terrible cliches!

You can always do something interesting with old cliches.



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