EXPLORING DIFFERENTTHEORISTS

TECHNIQUES INMUSIC CONCRETE

LUIGI RUSSOLO6 groups of noises / sounds;

1.) Roars , thundering, explosions, hissing, bangs, booms2.) Whistling, hissing, puffing

3.) Whispers, mummers, mumbling, muttering, gurgling4.) Screeching, creaking, rustling, buzzing, crackling, scraping

5.) Noises obtained by beating on a metals, woods, skins, stones, pottery etc.6.) Voices from animals and people; shouts, screams, shrieks, wails, hoots, death rattles, sob.

This helps me in covering all aspects of the groups of noises which are suitable to use for my project. This also can splits the range of sounds which I can use to define my chosen category in the most successful way. It also can transit into digetic and non digetic sounds, even though sound is invisible I can try to develop a story of scenery by what typically goes on in the category I have chosen. E.g. Outdoors sounds could be people walking around and background noises (group 2) which a dramatic event could happen (group 1) which could create escapism and interest in my track and there is a dilemma waiting to be solved.

Apponlinare (As said in the slide one); mostly focuses upon the detailed aspects

on what we experience. The sound is described and then what

techniques we can do to encounter them. As Apponlinare is a

phonograph poet I will take his quotes and then transfer it into the

music concrete aspects of helping me with my project;

“I can’t recognise this as my

own voice?!”

This could mean that a area exists without a visual image, as mentioned non digetic sounds. “It’s because you

have been distanced

from it by recording

a process” When recording into sounds (group 3) I can explore into transferring the sound into a aspect of imagery, meaning that does a sound fit into a certain story e.g. Everyday life? And does it mostly have the stereotypical sound of being indoors or outdoors or in a certain environment?

Pierre Schaeffer

Working organisations;

ORTH (office de radioduffsion television Françoise) 1936

GRMC ( Groupe de recherché de Musique concrete)

1951The ORTH influenced his many contemporaries'. His

doctrines' and ‘concrete’ processers were adapted for

their own purposes. This will help by looking at my project in a different aspect. Does my sound have a

becoming of the same period in time e.g. modernistic? Does this show the side upon

the arrangement of ‘concrete or contemporary’? And is this project going to set a belief

that people understand in political elements?

The GRMC was an expansion of ORTH into radio and television. This influenced many

contemporaries.

Overall this focuses upon the argument ‘current vs. Modern’. E.g. television is visual

sound which is digetic listening, as in radio is non digetic so is the sound being played

new or old? As people can’t see or make out . People will look for stereotypical

aspects and link it to their own personal understandment. This creates a certain path

that I need to choose upon and to presented on both formats. This will focus on

stereotyping sounds and also focusing on the genre and the majority of age range /

popularity.

Was a French composer, writer, broadcaster, engineer, musicologist and acoustician of the 20th century. His innovative work in both the sciences —particularly communications and acoustics— and the various arts of music, literature and radio presentation after the end of World War II, as well as his anti-nuclear activism and cultural criticism garnered him widespread recognition in his lifetime

StuckenschmidtWas a German composer, musicologist, and historian and critic of music.One of his beliefs is that phonography could exist without music having been created by an instrument. I do agree with this statement. Music is a layer upon different sounds which are practically or digitally processed by the person / artist. I think that it projects a story of the artists interest but which can interact with and interpret into being in the form music. Music can be a form of a person’s expression and feeling. Its describing their intentions on what they felt depending on the moment in time or what they describe about the elements they have experienced and see it in their own perception.

Music can be read upon how the person encounters and judges upon it. This pretty much relates in the music concrete aspects, as it being a form of music or is it just a surface being hit by an object or vibration? However people take a view it is still a form of expression, its the popularity and majority of people thinking which can lead it into a genre of the form of music and that the artist focuses on that goal (which I need to do). This concludes to my project as music concrete is a different interpretation on music. I need to illustrate that my project is in the concepts of music and there is a story in the way I have presented my project.This will help me with my problem solving skills and also my evaluation, recapping on progress throughout my project and make my decision more in depth and detailed. This therefore will give me a two sided argument which I can both answer if occur.