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This title in other editions

In Search of a Concrete Music (California Studies in 20th-Century Music)

by

In Search of a Concrete Music (California Studies in 20th-Century Music) Cover

 

Synopses & Reviews

Publisher Comments:

"Few books have described with such precision the evolution of thoughts and concepts behind the invention of a new music as A La Recherche dand#8217;une Musique Concrete. In this book Schaeffer has unveiled the major philosophical problems of music of the second half of the twentieth century. An excellent translation by Dack and North." and#151;Daniel Teruggi, Head of Institut National Audiovisuel, Groupe de Recherches Musicales, Paris

and#147;A fascinating glimpse into the mind of Pierre Schaeffer, the creator of the very first kind of electroacoustic music, the Concrete music, here in a stellar translation. In this diary combined with musical considerations, Schaeffer gives the necessary keys and invites the reader to follow, step by step, how Concrete music became a major trend of the twentieth century." and#151;Marc Battier, Professor of Musicology, University Paris-Sorbonne

and#147;Pierre Schaefferand#8217;s writings are fundamental to our understanding of twentieth-century music in general and all the sound arts that use technology. This book reveals a truly experimental journey with its detours and frustrationsand#151;yet with determination, dazzling imagination and insight, Schaeffer pieces together a coherent and radical theory of music made through sound as perceived. Christine North and John Dackand#8217;s translation brilliantly captures Schaefferand#8217;s painstaking reinvention of the vocabulary of music.and#8221; and#151;Simon Emmerson, Professor of Music, Technology, and Innovation, De Montfort University

Synopsis:

At publication date, a free ebook version of this title will be available through Luminos, University of California Pressandrsquo; new Open Access publishing program for monographs. Visit www.luminosoa.org to learn more.

Player pianos, radio-electric circuits, gramophone records, and optical sound filmandmdash;these were the cutting-edge acoustic technologies of the early twentieth century, and for many musicians and artists of the time, these devices were also the implements of a musical revolution. Instruments for New Music traces a diffuse network of cultural agents who shared the belief that a truly modern music could be attained only through a radical challenge to the technological foundations of the art. Centered in Germany during the 1920s and and#39;30s, the movement for new instruments encompassed a broad spectrum of aesthetic orientations, from the exploration of microtonal tunings and exotic tone-colors to the ability to compose directly for automatic musical machines. It involved composers, inventors, and visual artists, including Paul Hindemith, Ernst Toch, Jandouml;rg Mager, Friedrich Trautwein, Landaacute;szlandoacute; Moholy-Nagy, Walter Ruttmann, and Oskar Fischinger. Pattesonandrsquo;s fascinating study combines an artifact-oriented history of new music in the early twentieth century with an astute revisiting of still-relevant debates about the relationship between technology and the arts.

Synopsis:

Pierre Schaefferand#8217;s In Search of a Concrete Music (and#192; la recherche dand#8217;une musique concrand#232;te) has long been considered a classic text in electroacoustic music and sound recording. Now Schaefferand#8217;s pioneering workand#151;at once a journal of his experiments in sound composition and a treatise on the raison dand#8217;and#234;tre of and#147;concrete musicand#8221;and#151;is available for the first time in English translation. Schaefferand#8217;s theories have had a profound influence on composers working with technology. However, they extend beyond the confines of the studio and are applicable to many areas of contemporary musical thought, such as defining an and#145;instrumentand#8217; and classifying sounds. Schaeffer has also become increasingly relevant to DJs and hip-hop producers as well as sound-based media artists. This unique book is essential for anyone interested in contemporary musicology or media history.

About the Author

Composer Pierre Schaeffer (1910-1995) was the inventor of musique concrand#232;te music created by combining and manipulating recorded sounds (rather than being played on conventional musical instruments).

Translators:

John Dack is Senior Research Fellow and Director of the Sonic Arts Department at Middlesex University. Christine North is retired as Lecturer in French at Middlesex University.

Table of Contents

Translatorsand#8217; Note

I. First Journal of Concrete Music (1948and#150;1949)

Chapter 1

Chapter 2

Chapter 3

Chapter 4

Chapter 5

Chapter 6

Chapter 7

II. Second Journal of Concrete Music (195and#150;1951)

Chapter 8

Chapter 9

Chapter 1

Chapter 11

Chapter 12

Chapter 13

III. The Concrete Experiment in Music (1952)

Chapter 14. The Concrete Approach

Chapter 15. The Experimental Method

Chapter 16. The Musical Object

Chapter 17. From the Object to Language

Chapter 18. From the Object to the Subject

Chapter 19. Inventory

Chapter 2. Farewells to Concrete Music

IV. Outline of a Concrete Musical Training

Index

Product Details

ISBN:
9780520265745
Author:
Schaeffer, Pierre
Publisher:
University of California Press
Author:
ffer, Pierre
Author:
ffer
Author:
North, Christine
Author:
Pierre Sch&amp
Author:
aelig
Author:
Patteson, Thomas
Author:
Sch&amp
Author:
Dack, John
Subject:
General Music
Subject:
Music - General
Subject:
Music - Classical
Subject:
History & Criticism *
Edition Description:
Trade Paper
Series:
California Studies in 20th-Century Music
Series Volume:
15
Publication Date:
20121131
Binding:
TRADE PAPER
Language:
English
Illustrations:
27 illustrations
Pages:
244
Dimensions:
9 x 6 in

Related Subjects

» Arts and Entertainment » Music » General
» Arts and Entertainment » Music » Genres and Styles » Classical
» Arts and Entertainment » Music » Instruments » MIDI and Electronic

In Search of a Concrete Music (California Studies in 20th-Century Music) New Trade Paper
0 stars - 0 reviews
$38.50 In Stock
Product details 244 pages University of California Press - English 9780520265745 Reviews:
"Synopsis" by ,
At publication date, a free ebook version of this title will be available through Luminos, University of California Pressandrsquo; new Open Access publishing program for monographs. Visit www.luminosoa.org to learn more.

Player pianos, radio-electric circuits, gramophone records, and optical sound filmandmdash;these were the cutting-edge acoustic technologies of the early twentieth century, and for many musicians and artists of the time, these devices were also the implements of a musical revolution. Instruments for New Music traces a diffuse network of cultural agents who shared the belief that a truly modern music could be attained only through a radical challenge to the technological foundations of the art. Centered in Germany during the 1920s and and#39;30s, the movement for new instruments encompassed a broad spectrum of aesthetic orientations, from the exploration of microtonal tunings and exotic tone-colors to the ability to compose directly for automatic musical machines. It involved composers, inventors, and visual artists, including Paul Hindemith, Ernst Toch, Jandouml;rg Mager, Friedrich Trautwein, Landaacute;szlandoacute; Moholy-Nagy, Walter Ruttmann, and Oskar Fischinger. Pattesonandrsquo;s fascinating study combines an artifact-oriented history of new music in the early twentieth century with an astute revisiting of still-relevant debates about the relationship between technology and the arts.

"Synopsis" by ,
Pierre Schaefferand#8217;s In Search of a Concrete Music (and#192; la recherche dand#8217;une musique concrand#232;te) has long been considered a classic text in electroacoustic music and sound recording. Now Schaefferand#8217;s pioneering workand#151;at once a journal of his experiments in sound composition and a treatise on the raison dand#8217;and#234;tre of and#147;concrete musicand#8221;and#151;is available for the first time in English translation. Schaefferand#8217;s theories have had a profound influence on composers working with technology. However, they extend beyond the confines of the studio and are applicable to many areas of contemporary musical thought, such as defining an and#145;instrumentand#8217; and classifying sounds. Schaeffer has also become increasingly relevant to DJs and hip-hop producers as well as sound-based media artists. This unique book is essential for anyone interested in contemporary musicology or media history.
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