morfina
New member
(collaborative non-commercial project)
In 1948 Pierre Schaeffer used a mobile recording studio to record sounds coming from steam trains near Paris (including train whistles and rail road noises), that he then edited together, creating a composition called “Etude aux Chemins de fer”, that was broadcasted on the radio together with other pieces composed with similar techniques, in what was named a “Concert of Noises”. He is also responsible for coining the term “concrete music”, which is used to describe music in which the composer is “concretely” involved in the creation of sounds, rather than “abstractly” working with the signs that represent them.
Obviously, a type of music that relies so heavily on technology suffered great limitations because of the lack of technology available at the time. The possibility of recording on magnetic tapes, compared to the turntables of the 50’s, pushed experimentation faster than ever before.
The capillary development of the World Wide Web and the proliferation of digital recording systems enable the sharing of acoustic material, connecting geographically distant people and allowing them to work collectively on the same compositional research.
Concrète is created with the aim of providing users with a shared archive of recordings, implementing a freely accessible and easy to use database; through this, sounds from distant places and realities can be used as primary elements in the composition of concrete music. The material processed by the users is hosted in a specific section of the site, where the true and proper musical research happens.
http://www.concretemusicproject.org
In 1948 Pierre Schaeffer used a mobile recording studio to record sounds coming from steam trains near Paris (including train whistles and rail road noises), that he then edited together, creating a composition called “Etude aux Chemins de fer”, that was broadcasted on the radio together with other pieces composed with similar techniques, in what was named a “Concert of Noises”. He is also responsible for coining the term “concrete music”, which is used to describe music in which the composer is “concretely” involved in the creation of sounds, rather than “abstractly” working with the signs that represent them.
Obviously, a type of music that relies so heavily on technology suffered great limitations because of the lack of technology available at the time. The possibility of recording on magnetic tapes, compared to the turntables of the 50’s, pushed experimentation faster than ever before.
The capillary development of the World Wide Web and the proliferation of digital recording systems enable the sharing of acoustic material, connecting geographically distant people and allowing them to work collectively on the same compositional research.
Concrète is created with the aim of providing users with a shared archive of recordings, implementing a freely accessible and easy to use database; through this, sounds from distant places and realities can be used as primary elements in the composition of concrete music. The material processed by the users is hosted in a specific section of the site, where the true and proper musical research happens.
http://www.concretemusicproject.org
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