Concrete music is a genre of electro-acoustic music that emerged in the mid-20th century, primarily between the 1940s and 1950s. It was pioneered by French composer Pierre Schaeffer and his colleagues at the Studio d'Essai of the Radiodiffusion-Television Francaise in Paris. The term "concrete" refers to the material nature of sounds used in the music, as well as the concept of manipulating pre-recorded sounds as raw materials.
Concrete music involves the manipulation, transformation, and organization of recorded environmental sounds, along with electronically generated ones. These sounds, sourced from the natural world, industrial machinery, and everyday objects, are transformed through various techniques, such as editing, looping, reversing, and altering their pitch, tempo, or timbre.
The composers of concrete music emphasize the exploration of the intrinsic qualities of sounds, independent of their semantic or symbolic associations. They aim to reveal the musical potential hidden within ordinary sounds, creating a new musical language that challenges traditional concepts of melody, harmony, and rhythm.
Concrete music compositions often feature meticulously crafted textures, intricate sonic structures, and a rich palette of diverse and unique sounds. They can range from abstract and experimental pieces to more narrative and evocative compositions.
Concrete music has had a significant influence on the development of electronic music and sound art. Its techniques and ideas have been adopted by subsequent generations of composers, leading to the exploration of new sonic possibilities and pushing the boundaries of what is considered music.
