What the GRM brought to music: from musique concrète to acousmatic music

  title={What the GRM brought to music: from musique concr{\`e}te to acousmatic music},
  author={Marc Battier},
  journal={Organised Sound},
  pages={189 - 202}
Abstract Sixty years ago, musique concrète was born of the single-handed efforts of one man, Pierre Schaeffer. How did the first experiments become a School and produce so many rich works? As this issue of Organised Sound addresses various aspects of the GRM activities throughout sixty years of musical adventure, this article discusses the musical thoughts behind the advent and the development of the music created and theoretised at the Paris School formed by the Schaefferian endeavours… 

Music Production : Recording Technologies and Acousmatic Listening

Recorded sound is acousmatic, meaning that it does not display any visual sound sources. When people listen to recorded/acousmatic sound, they generally apply their previous experiences with the

Acousmate: History and de-visualised sound in the Schaefferian tradition

A set of problems concerning the historiography of acousmatic listening in the Schaefferian tradition are articulate, which shows how the word is unrelated to the Pythagorean acousmatics, and how its author understood his ‘acousmate’ in the context of contemporary natural science.

River Soundscapes: Ecological Perspectives in the Music of Annea Lockwood, Eve Beglarian, and Leah Barclay

Throughout history composers and artists have been inspired by the natural world. Nature’s influence on music is extraordinary, though water in particular, has had a unique magnetic pull. The large

Towards a Phenomenology of Musical Borrowing

A more comprehensive evaluation of musical borrowing, one capable of accounting for its diverse instantiations while simultaneously disclosing what makes all of them ‘borrowings’ in the first place, is thereby attainable.

Electroacoustic Music At CLAEM: A Pioneer Studio in Latin America

  • Eduardo Herrera
  • Political Science, Art
    Journal of the Society for American Music
  • 2018
Abstract During the 1950s and ’60s, many composers began exploring the possibilities provided by commercially available magnetic tape recording and electronically produced sound. In Latin America,

Studying Sonorous Objects to Develop Frameworks for Improvisation

It is outlined how acousmatic listening to field recordings from everyday environments informed the development of performance strategies that guide improvised musical performance; a malleable practice that can be applied to a variety of performance settings.

Crossing Lines: Stylistic gradients in Chinese electroacoustic music

In this article, I discuss the case of Chinese electroacoustic music with a focus on contemporary music, Asian instruments and mixed music. I pay particular attention to mixed music, without however

For Two-Channel Fixed Media

This paper is an account of the creative process that resulted in the dissertation for a PhD in music composition, Scenes , a two-channel fixed-media composition of electroacoustic music. The

Malleability and Machines: Glenn Gould and the Technological Self

It is argued that for Glenn Gould, the detailed properties of machines and electronic media were crucial, not just as tools for pursuing disembodied aesthetic aims, but as instruments and material sites for a moral project.

The Forgotten History of Repetitive Audio Technologies

In the literature dedicated to twentieth-century music, the early history of electronic music is regularly presented hand in hand with the development of technical repetitive devices such as closed



Le système syter : son histoire, ses développements, sa production musicale, ses implications dans le langage électroacoustique d'aujourd'hui

Le systeme audionumerique de transformation du son en temps reel syter, developpe entre 1978 et 1985 par jean-francois allouis, represente l'aboutissement de presque 40 ans de recherche technologique

Traité des objets musicaux

This dissertation aims to provide a history of music criticism in the post-modern period from 1989 to 2002, a period chosen in order to explore its roots as well as specific cases up to and including the year in which Pierre Schaeffer died.

Traité des objets musicaux : essai interdisciplines

Le GRM, Groupe de recherches musicales

  • Des racines de la musique concrète à l’électroacoustique des années 2000. Histoire, oeuvres, concepts, outils: une synthèse’, doctoral thesis supervised by J.-Y. Bosseur, Université Paris-Sorbonne.
  • 2006

Des racines de la musique concrète à l'électroacoustique des années 2000. Histoire, oeuvres, concepts, outils: une synthèse', doctoral thesis supervised by

  • 2006