322_Top as the chief developer of a unique and

322_Top Books by Pierre Schaeffer

 A: INTRODUCTION

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barbarians always think of themselves as the bringers of civilization.” — Pierre Schaeffer

When talking about French music of 20th century the name without discussion cannot be completed is Pierre Henri Marie Schaeffer (14 August 1910 — 19 August 1995) was a French composer, writer, engineer, musicologist and acoustician of the 20th century.

 His innovative work and in sciences of which particularly communications and acoustics. He presented various art of music, literature along with his radio presentation after the end of World War II resemble him as a polymath. His anti-nuclear activism and cultural criticism garnered him a wide array of assessment in his lifetime.
Of the vast collection of works and activities undertaken by him, Schaeffer is most widely and currently recognized for his actions in electronic and experimental music, the epitome of which was his role as the chief developer of a unique and early form of avant-garde music known as Musique concrète. The type emerged out of Europe from the utilization of new music technology developed predominately in the post-Nazi Germany era, which followed the path of advances in acoustoelectric and acousmatic music.
Schaeffer’s writings are very broad and include written and radio-narrated essays, biographies, short novels, a number of musical treatises and several plays which are often oriented towards his development of the genre, as well as defined the theoretic and philosophy of music in general.
Today, Schaeffer is considered one of the most powerful experimental, acoustoelectric and subsequently electronic choir, having been the first composer to utilize a number of modern recording and sampling techniques that are now used worldwide by nearly all record production companies.

 His collective endeavors are considered milestones in the histories of electronic and experimental music.

B: List of books by Pierre Schaeffer according to their popularity

 #1 In Search of a Concrete Music (ISBN: 0520265742)

Synopsis: Pierre Schaeffer’s In Search of a Concrete Music has long been considered a classic text in acoustoelectric music and soundtrack. Schaeffer’s theories have had a deep influence on composers working with technology. However, they extend beyond the confines of the studio and are applicable to many areas of mordern melodic thought, such as defining an ‘instrument’ and classifying sounds.

·         Read it for: this book has become increasingly relevant to DJs and hip-hop producers as well as sound-based media artists and the uniqueness of this book interest anyone paying attention in mordern musicology or media history.

·         Don’t read for: this book deals with alteration brought in mordern music art but lacks in ideas that are self-applicable in today’s era.

 

·         What Makes This Book Stand Out: This book from the early days of electronic music gives great insights into the thoughts and idea of one of the true radical in 20th-century music. The author’s approach to writing the book was to take his notes from his diary which makes it completely different from others.

 

#2 Traite des objects musicaux (ISBN-13: 978-2020026086)

·         Synopsis: the Traité des Objets Musicaux, as think its research right in the centre of the harmony It takes on the loud, for the first time, and this is no doubt its merit; then it suggests ways of accessing the musical, particularly with the idea that not all sound is suitable for music, that choices of the Suitable” 2 music be made in the light of the Structures to which all listening which is seeking meaning must be referred

 

·         Read it for : Although Schaeffer’s books have philosophical bias, their philosophy is pragmatic in its inner core, and as one reads this creation it became clear that they would severely change their outlook on what music is and how to do it and must-read by each endeavoring and seek artist, for artist who works to expand what music is, might be, and will be

 

·         Don’t read it for: It was written almost half a century ago and no English from French conversion has appeared hence, which acts as in the hurdles to for the new generations.

 

·         What Makes This Book Stand Out: you will come across something mysterious, astonishing. Indeed, is not musical meaning, to which it constantly referring without being able to define it, like other questions in life to which we do not know the answer? After all, does life have a meaning? Who can define it? Is there the agreement about it?

 

#3 Treatise on Musical Objects: An Essay across Disciplines (ISBN13: 9780520294301)

·         Synopsis: The Treatise on Musical Objects is regarded as Pierre Schaeffer’s most significant work on music and its association with technology. Schaeffer expands his earlier research in musique concrète to suggest a method of operational with sounds based on his experiences in radio broadcasting and the recording studio. He aims at sketch on acoustics, physics, and work of art, but also on attitude and the association between subject and object, Schaeffer’s essay summarizes his theoretical and practical work in music work of art. Translators Christine North and John Dack present an significant book in the history of ideas in Europe that will reverberate far beyond acoustoelectric music.  Although focused on his idea of the musical object, the Treatise on Musical Objects is an retreat of new route for thinking and conjecture through insight.

 

By crossing several discipline and developing his own musical research method through the years, Schaeffer revolutionize the idea of the sonic material, also exit an anosmatic invitation which is reflected on his philosophical standpoints, ideas on technology and his visionary concepts around acoustoelectric, experimental and concrete music. Scientific yet poetic, visionary yet a classic; from the idea of music as the research device to the analysis of listening modalities, or his attempt of a language for musical objects, Schaeffer’s treatise is a must-read which, even if can be reformulated or questioned, will always be a milestone in sonic thinking.

 

·         Read it for :

Pierre Schaeffer’s text in a definitive form in English is invaluable to a wide range of communities of scholars, practitioners, and general readers. It will have the effect of ‘rewriting history’ as well as stimulating and informing current discussions on the state of sound, music, and media in the age of smart technology

“The Treatise on Musical Objects is Pierre Schaeffer’s magnum opus, a prescient work of sound studies before there was ‘sound studies.’ Its purview touches on nearly every aspect of sound and auditory culture. Beyond ‘modes of listening,’ ‘sound objects,’ or ‘acoustics,’ there is so much more for readers to discover.”—Brian Kane, author of Sound Unseen: Acousmatic Sound in Theory and Practice. 

·         Don’t read it for: Treatise on Musical Objects is regarded as Pierre Schaeffer’s most significant work on music and its relationship with technology. Schaeffer expand his earlier experience in this regard which makes it quite odd in terms of time level and the past

 

·         What Makes This Book Stand Out: The author suggests a style of working with sounds based on his experience in radio broadcasting and the recording studio. Drawing on acoustics, physics, and physiology, but also on philosophy and the relationship between topic and object, Schaeffer’s essay summarize his theoretical and practical work in music work of art.

 

#4 Tratado De Los Objetos Musicales: (ISBN13: 9788420685403)

·         Synopsis: In Tratado of the musical objects Pierre Schaeffer bring forth the general main beliefs of the insight music and its mechanism. Schaeffer’s treatise is a colossal, innovative investigation into listen, considering in depth not only the sounds of music but the whole sound world. At last English-speaking reader can find out the seminal research of this unique personality, which remains a classic fifty years after its initial book.

·         Read it for: this seminal text is still absolutely vital for those curious about music, sound, compose, and the experience of listen. Schaeffer’s amazing book is at last available in English thanks to the magnificent work of John Dack and Christine North.

 

·         Don’t read it for: Pierre Schaeffer’s text in a ultimate form in English is priceless to a wide range of community of scholars, practitioners, and general reader. It will have the effect of rewriting history as well as stimulating and informing current discussions on the state of sound, music, and media in the age of smart skill which many readers may not instill in them.

 

·         What Makes This Book Stand Out: This marker text, not for one but for more than a few discipline: acoustoelectric work of art, sound studies, media theory, music theory, to name but a few. To have an English conversion of this volume at long last is a cause for celebration. Christine North and John Dack have shown wonderful skill, tolerance, and care in depiction Schaeffer’s often difficult style into English, doing fairness to both the content of his ideas and the technique in which they are spoken.

#5 A la recherche de la musique concrete (ISBN13: 9782020025720)

·         Synopsis: By 1949 Schaeffer’s compositional work was known openly as musique concrète (Palombini 1993, 14). Schaeffer stated: “When I proposed the term ‘musique concrète,’ I proposed … to point out an resistance to the way musical work usually goes. Instead of notating musical thoughts on paper with the symbols of solfege and entrust their understanding to well-known instruments, the question was to collect concrete sounds, wherever they came from, and to theoretical the musical principles they were potentially contain. According to Pierre Henry, “musique concrète was not a study of timbre, it is focused on envelopes.

 

·         Read it for: The development of musique concrète was facilitate by the appearance of new music technology in post-war Europe. right of entry to microphones, phonograph, and later magnetic tape recorders facilitated by an association with the French national broadcasting organization, at that time then gave Schaeffer and his colleagues an opportunity to experiment with recording technology and tape handling.

 

·         Don’t read it for: In 1948, a typical radio studio consisted of a series of shellac record players, a shellac record recorder, a mixing desk with rotating potentiometers, mechanical reverberation and microphones. This technology made a number of limited operations available to a composer. Which today’s composers would not find attractive

 

·         What Makes This Book Stand Out: Almost seventy years after the invention of musique concrète, this determining text is still totally vital for those curious about music, sound, composing, and the experience of listening. Schaeffer’s amazing book is at last available in English thanks to the wonderful work of John Dack and Christine North.

 

#6 Machines a communiqué (ISBN13: 9782020026208)

·         Synopsis: Schaeffer’s early experience in the radio medium of which deliberately in the practice of so-called radio-phonic art – anticipate these later writings loyal to music theory. The conclusion must be that radio-phonic art played a role of central significance in inspirational and consolidate Schaeffer’s thoughts can be seen in Machines a communiqué.

 

·         Read it for: Schaeffer’s response to the new listening environment created by radio technology was not simply to accept the situation but to investigate the relationship between the listening subject and the object of his/her perception. This human dimension, “man as the measure of all things”, the human capacities for knowledge and perception seemed a dominating factor in his thinking. A man was now placed in a new relationship with sounds.

 

·         Don’t read it for: When Schaeffer speaks of the “transcendence of the object,” he means it in the sense that the object intend is not immanently restricted in the stream of concerned augur which states that the author has lead music to an enthusiastic height.

 

·         What Makes This Book Stand Out: This is the backdrop to Schaeffer’s uphold that it is in my knowledge that this transcendence is comprise. To each area of substance write thus a type of intention. Each of their property depends on acts of awareness that are constitutive and the object apparent is no longer the cause of my insight. It is the associate with which author aims at achieve a transcendence of music.

 

#7 Prelude choral et fugue (ISBN13: 9782080645517)

·         Synopsis: The final decades of the 20th century witness a marked alter in the approach to instrumental music and an attention in experience a broader variety of expressivity in music. Anesthetics of entiment and desire with regard to music is originate in novels of the period as presented by author Prelude choral et fugue.

·         Read it for: It is significant to highlight, though, that the work-concept does not control all musical practice; this artistic is not an past key to considerate all music; in her final chapter, Goers notes that deteriorating to keep this in mind leads to our alienate music from its an assortment of socio-cultural context”

·         Don’t read it for: the artists having the place in music and its art will able to link the instance mention in it by an author.

·         What Makes This Book Stand Out: Structuralisms seek to explain community phenomenon in terms of causal, cataleptic, general pattern – deep structure, which are taken to be stationary, and examined synchronically. Although author embraces certain aspect of structuralism, his psychoanalysis is definitely past related.

#8 Excusez-moi, he means (ISBN13: 9782080643674)

·         Synopsis: He developed the idea of counting any and all sounds into the musical language. At first, he strenuous on working with sounds other than those shaped by traditional melodic instrument. Later on, he found it was likely to remove the knowledge of musical instrument sounds and abstract them further by technique such as removing the attack of the record sound.

·         Read it for: He was among the first to influence recorded sound in the method that it could be used in combination with other such sounds in the making of a melodic piece. This could be thought of as a precursor to mordern sampling practices.

·         Don’t read it for: also, he emphasize the significance of play in the formation of music which is not much common in other parts of the world which leads to being sheltered in particularly in France.