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Musique concrète
Musique concrète (French pronunciation: ​[myzik kɔ̃.kʁɛt], meaning "concrete music") is a form of musique expérimentale (experimental music, Palombini 1998,) that exploits acousmatic listening, meaning sound identities can often be intentionally obscured or appear unconnected to their source cause. It can feature sounds derived from recordings of musical instruments, the human voice, and the natural environment as well as those created using synthesizers and computer-based digital signal processing. Compositions in this idiom are not restricted to the normal musical rules of melody, harmony, rhythm, metre, and so on. Originally contrasted with "pure" elektronische Musik (based solely on the production and manipulation of electronically produced sounds rather than recorded sounds), the theoretical basis of musique concrète as a compositional practice was developed by Pierre Schaeffer, beginning in the early 1940s. From the late 1960s onward, and particularity in France, the term acousmatic music (musique acousmatique) started to used in reference to fixed media compositions that utilized both musique concrète based techniques and live sound spatialisation.
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