The state ofMusique Concrète
Bibliographic Data
| ID | 3859196 |
|---|---|
| Authors | Michel Chion (corresponding author) |
| Year | 1993 |
| Volume | 8 |
| Issue | 1 |
| Pages | 51-55 |
| Publication date | 1993-01-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Contemporary Music Review (JOURNAL) |
| Journal identifiers | ISSN: 0749-4467 • E-ISSN: 1477-2256 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/07494469300640181 |
| OpenAlex | W2001229941 |
| Language | EN |
| Citations received | 2 |
Among the nations of the world, France is the one where studios for electroacoustic research and production are most numerous, and among the most active: it may be in Paris (GRM), in Bourges (GMEB), in Marseille (GMEM), Albi (GMEA), Lyon (GMYL, GRAME, CANOPE), Grenoble, Toulouse, Auch, Chalons-sur-Saône (Christine Groult), Lille, etc....etc.... But what goes on there? All manner of things which often have no direct connection with what was formerly called electroacoustic music, that is music based on recorded sound: for the most part, and with very few exceptions (such as Chalons), they are groups where all sorts of research is carried out and where all sorts of demonstrations and animations are done with machines such as synthesisers and computer programmes used more or less in real-time or in recorded form, but combined with instrumental parts (so-called mixed music). Those who centre their work on what was initially called electroacoustic music are still unusual. In this article, Michel Chion makes a plea for a return to and a retention of the specificity of what he, using an even older but less out-moded expression, calls: concrete music
Aesthetics · Art · Art history · Electroacoustic music · Musical · Plea · Political science · Sociology · Studio · Visual arts · Computer Science · Law · Music Technology and Sound Studies
| Citations per year | 0.15 |
|---|---|
| Citation span | 2013 - 2019 (7) |
| Highly cited | No |