2012
Search results
Pierre Henri Marie Schaeffer ( English pronunciation: / piːˈɛər ˈhɛnriː məˈriː ˈʃeɪfər / ⓘ, French pronunciation: [ʃɛfɛʁ]; 14 August 1910 – 19 August 1995) [1] was a French composer, writer, broadcaster, engineer, musicologist, acoustician and founder of Groupe de Recherche de Musique Concrète ( GRMC ).
Pierre Schaeffer (born Aug. 14, 1910, Nancy, France—died Aug. 19, 1995, Aix-en-Provence) was a French composer, acoustician, and electronics engineer who in 1948, with his staff at Radio-diffusion et Télévision Française, introduced musique concrète. In this genre, sounds of natural origin, animate and inanimate, are recorded and ...
- The Editors of Encyclopaedia Britannica
Feb 23, 2016 · Learn how the French composer and engineer pioneered musique concrète, a radical music made from pre-recorded sounds. Discover his influence on hip-hop, electronic music and beyond.
Pierre Henri Marie Schaeffer (14 August 1910 – 19 August 1995) was a French composer, writer, broadcaster, engineer, musicologist and acoustician. 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.
May 27, 2016 · Learn about the French composer who pioneered musique concrète, a radical music made from pre-recorded sounds. Discover his innovations, influences and legacy in this comprehensive guide.
Schaeffer, born in 1910, was an engineer at Radio France during the war, where he was given the run of the sound effects department. The book opens with extracts from his 1948 journal. He is contemplating a ‘symphony of noises’, and is collecting klaxons, gongs, bike horns and other objects from the departmental store cupboard.
People also ask
Who is Pierre Schaeffer?
What did Pierre Schaeffer do after WW2?
Why is Schaeffer's musique concrète important?
Why did Pierre Schaeffer distance himself from contemporary music?
In 1966, after 15 years of work, Pierre Schaeffer published the Traité des objets musi-caux. The first draft, which was stolen along with Schaeffer’s luggage in Turin, had been rewritten four times in those 15 years. According to Schaeffer, the text had become a veritable “thinking machine.”15 The Traité, which is extraordinarily broad
