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Beginning about 1950, two leading groups began experimenting with electronic music, one in Cologne and the other in Paris. The product of the latter group was referred to as musique concrète in acknowledgement of the principle that preexisting, or “concrete,” recorded sounds serve as the basis of all sonorities in the finished work. The basic sounds, which may be derived from any source—musical, natural, or mechanical—are modified electronically and arranged in any combination and succession suitable to the composer’s purpose. The German group, led by Karlheinz Stockhausen, was concerned with a purer form of the medium in that its basic ...(100 of 14570 words)