Carlos Jaramillo - Juan Manuel Andrade

Musicalization report

when we knew that our project was going to use concrete music we feel that the
concrete music was a little bit out of the range for the shortfilm that was a sad history
with an uncomfortable feeling, then we decide to make a sad or a slow composition
to create this sad environment with the music but we couldn't find a composition that
match with the shirtfilm after that we decide to find another element of the shortfilm
to put a highlight on, then we find that the shortfilm let us with a feeling of
awkwardness and we try to create an environment of uncomfort for the audience.

Theoretical framework

the concrete music is a music genre which was created in the half of the XX century
where basically the music have to use an analog or digital way of keeping the
information, the base of the concrete music is that we listen to the composition and
we can´t recognize where it comes from

the pioneer of the concrete music was pierre schaeffer a music composer that start
studying this technique in 1952 with jaques poulin a pierre henry and they start this
study with the national radio of france, he end this investigation in the 80´s with a
couple of books and a really important one that was “ five studies about noise” after
pierre many other musicians start using this technique in many fields, but nowadays
is like a forgotten technique.

Process description

Concrete music is produced by sounds existing in the world, that is, by any object.
Part of the noise, like futurism. It is called concrete because according to Schaeffer,
its inventor, is produced by concrete objects (any object) and not by the abstract
ones that would be the traditional instruments, like the violin, organ, etc.

Concrete music creates a totally surreal world, as if it were a dream and must be
seen as a fruit of World War II, which had left Europe really undone; This makes the
world seem somewhat meaningless and that is artistically created a sound language
that participates in these characteristics of the absurd.

In 1951, specific music was introduced in the courses of Darmstadt, where it aroused
the interest of young people like Boulez and Barraqué, and not as young as

http://www.epdlp.com/compclasico.php?id=4482
https://es.wikipedia.org/wiki/Karlheinz_Stockhausen
Messiaen, Dutilleux or musicologist Abraham Moles, who in collaboration with
Schaeffer created the first concrete opera, Orfeo In 1953.

Pierre Schaeffer proposed the term concrete music in 1948. It was the era of record
players and the only known variable was to make closed grooves (repetitive loops)
or to reverse the spin of the engine. These manipulations of the sound material were
similar to the collages of the painting. And if figurative painting took its models from
the outside world, the "sound objects" did so by recording the natural noises and
organizing them into concrete music.

The precursors of the concrete music were

● Pierre Schaeffer

French composer and writer. He is the main creator of concrete music, style that
uses sound materials recorded and elaborated as a collage. With this creation he
became one of the pioneers of electronic music. He studied engineering and worked
as a telecommunications specialist in Strasbourg and later as a technician in French
Broadcasting. In 1942 he created the Studio d'Essai, the main work center of
concrete music and experimental radio. His early works include Étude aux chemins
de fer (1948) and the Symphonie de bruits, working in collaboration with Pierre
Henry, later reworked as Symphonie pour un homme seul (1950). In 1958 he
renovated an old music research center and converted it into the Groupe de
Recherches Musicales (GRM), which is still a pioneer in the creation of electronic
music. In 1968 he was appointed professor of electronic music at the Paris
Conservatoire. Schaeffer's early compositions were made possible by the
development of the phonographic technique in the 1950s. His compositional practice
is matched by his interest in theoretical concepts concerning listening and musical
perception. His theoretical works have been much appreciated by young composers
of electroacoustic music, especially the Musical Objects Treaty (Paris, 1966), which
proposes a theory of reduced hearing as a way for the treatment of sound objects
(conversations, noises, Shouts of animals, a slamming) as musical material

Pierre Schaeffer - Etude Aux Chemins de Fer

​http://www.youtube.com/watch?v=lW9d9qiZy...

● Stockhausen

He is a German composer widely recognized, both by critics and by the most

enlightened musical opinion, as one of the most prominent and controversial
composers of 20th century cultured music. For many, he is not only an important

http://www.epdlp.com/compclasico.php?id=4482
https://es.wikipedia.org/wiki/Karlheinz_Stockhausen
figure, he is one of the greatest visionaries of 20th century music.

He is known for his works of contemporary music and his innovations in

electroacoustic music, random music and serial composition.

Among his most notable compositions are the nineteen Klavierstücke (piano pieces),
Kontra-Punkte for ten instruments, his particular electronics / music Gesang der
Jünglinge, Gruppen for three orchestras, soloist percussion Zyklus, Kontakte, the
cantata Momente , His live electronics Mikrophonie I, Hymnen, Stimmung for six
vocalists, Aus den sieben Tagen, Mantra for two pianos and electronics, Tierkreis,
Inori for soloists and orchestra, and his gigantic circle of operas Licht.

Etude - Stockhausen (1952)

​http://www.youtube.com/watch?v=K6zFDumor...

Broadly the musicalization made in this short reinforces at all times the feeling that
was sought to make sense, which is that of a routine life that at a given moment you
all feel, particularly highlights the outside world that in many ways bothers us ; In my
opinion this style of music (concrete music) in this sense compajina totally with the
original images of the short. We used two musical pieces for this composition, very
related to the planes seen in the short.

VIDEO LINK

https://vimeo.com//220673093

conclusion

well we conclude that concrete music is something totally different that we thought at
the beginning you can make very interesting musical pieces because of the
versatility and the different ways you can record the sounds and the different places
you can find those sounds, also we conclude that concrete music could be a different
a innovative way to make musicalization of any audiovisual project.

http://www.epdlp.com/compclasico.php?id=4482
https://es.wikipedia.org/wiki/Karlheinz_Stockhausen