{"id":10634,"date":"2019-08-12T15:11:48","date_gmt":"2019-08-12T15:11:48","guid":{"rendered":"http:\/\/www.orbit-rri.org\/ears\/?post_type=encyclopedia&#038;p=10634"},"modified":"2020-11-09T10:52:58","modified_gmt":"2020-11-09T10:52:58","slug":"musique-concrete","status":"publish","type":"encyclopedia","link":"https:\/\/ears2.eu\/cs\/encyclopediacs\/musique-concrete","title":{"rendered":"Musique Concr\u00e8te"},"content":{"rendered":"<p>A term created by&nbsp;<a href=\"https:\/\/ears2.eu\/cs\/encyclopediacs\/schaeffer-pierre\" target=\"_self\" title=\"Pierre Schaeffer worked as a radio technician for the French national radio and whilst working there began to experiment with recorded sounds. In 1946 he convinced the radio station to develop a studio and research group to properly investigate recorded sounds. This group later became the&nbsp;GRM (Musical Research Group). He made his first solo compositions&hellip;\" class=\"encyclopedia\">Pierre Schaeffer<\/a>&nbsp;in 1948 to describe his new music, which started from the concrete sound material, from heard sound. Schaeffer wanted people to ignore the source and cause of the concrete sounds, and instead focus upon the musicality of sounds. He wanted to encourage&nbsp;<a href=\"https:\/\/ears2.eu\/cs\/encyclopediacs\/musical-listening\" target=\"_self\" title=\"Listening to sounds in terms of their own sonic and musical characteristics. It is the opposite of&nbsp;Contextual listening. Musical Listening focuses on the nature of sounds, to their musical relationships without reference to their source or cause. This term is often used in conjunction with Reduced Listening.\" class=\"encyclopedia\">Musical Listening<\/a>&nbsp;for all sounds.<\/p>\n<p>Many early works of Musique Concr&egrave;te, due to the unsophisticated tools on offer, could be listened to both in terms of their sources as well as their musical qualities.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>A term created by\u00a0Pierre Schaeffer\u00a0in 1948 to describe his new music, which started from the concrete sound material, from heard sound. Schaeffer wanted people to ignore the source and cause of the concrete sounds, and instead focus upon the musicality of sounds. He wanted to encourage\u00a0Musical Listening\u00a0for all sounds. Many early works of Musique Concr\u00e8te, [&hellip;]<\/p>\n","protected":false},"author":8389,"template":"","encyclopedia-tag":[],"class_list":["post-10634","encyclopedia","type-encyclopedia","status-publish","hentry","entry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Musique Concr\u00e8te - EARS 2<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/ears2.eu\/encyclopedia\/musique-concrete\" \/>\n<meta property=\"og:locale\" content=\"cs_CZ\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Musique Concr\u00e8te - EARS 2\" \/>\n<meta property=\"og:description\" content=\"A term created by\u00a0Pierre Schaeffer\u00a0in 1948 to describe his new music, which started from the concrete sound material, from heard sound. Schaeffer wanted people to ignore the source and cause of the concrete sounds, and instead focus upon the musicality of sounds. He wanted to encourage\u00a0Musical Listening\u00a0for all sounds. 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