YOKO ONO (FILM MUSIC:) Astrology (Henry): Pierre Henry - Astrology : |Musique concrète| NOT YOKO ONO!!! MICHAEL HANSEN-.-.-.-.-.-.- YOU MUST WATCH WITH ANNOTATIONS ON!!! you must watch with Annotations on after you read the introduction...

Pierre Henry
Astrology

This is not Yoko Ono
This was done Waaaayyyyy before Yoko Ono

-Jean Gremillon's short film, Astrologie (1952) marked the first use of musique concrete in the commercial French cinema. Pierre Henry has taken four sequences from it: the stars, the Cataclysms, the Machines, the War. This music has served as the basis of a ballet by Maurice Bejart, which he called Arcane.


Musique Concrete In 1948 Paris, history was made. Pierre Schaeffer, a French radio broadcaster, working for the Radiodiffusion-Television Francaise (RTF), created the first electronic music studio. With a multitude of microphones, phonographs, variable speed tape recorders and sound effect records he created a new art form, musique concrete, and with it a world of new music opened up -- the world of electronic music.
Musique concrete was the first type to be created. It involves using the found sounds in nature, distorted in various ways, to create music. Live, it becomes an exercise in mixing together unexpected sounds into some sort of form while studio musique concrete uses complex tape manipulations to create the effect.
Musique concrete can be created two different ways, both with widely varying techniques of creation. Recorded musique concrete uses tape, phonographs, and various other pieces of equipment available in the studio. It is created by recording various sounds on tape and modifying them in some way. This can be achieved by playing the tape back at various speeds, making a tape loop of the sound, playing the tape backwards, stretching the tape, or simply splicing short segments of tape together. What results is a alteration of the sound in new and unique way. Sounds can then be pasted together and overlayed to create a 'song'. Live musique concrete cannot use all the techniques of it recorded form. It usually consists of enormous amounts of microphones placed in various places around the performing hall and half a dozen variable speed phonographs all feeding into a series of mixers and filters, which in turn feed the various amplifiers driving a multitude of speakers scattered throughout the hall. In either form, musique concrete creates a unique form of music that takes the ear strangely.

Though not created until 1948, musique concrete has a long history before that of composers trying to add noise to their compositions to break free from conventional music. One of the first of these composers was Luigi Russolo. In conjunction with Balilla Pratella, he created an orchestra of Bruituers, or noise making machines. Encased in large boxes, these made a variety of grunts and hisses that became part of his 'Art of Noises' concerts in Milan, 1914. He used his bruituers to accompany traditional music and combine with it in new ways.

After Russolo came Darius Mihaud, who began to experiment with changing the speeds of records to get new sounds. Meanwhile Respighi was having a phonograph playing nightingales along with an orchestra in his Pines of Rome in 1924. In 1927, Antheil was experimenting with noise in ballet. Using car horns, airplane propellers, saws, and anvils, he wrote his Ballet Mechanique. All the while approaching was the one discovery that could make such compositions infinitely easier to create. In 1935, Allgemeine Elektrizitaets Gesellschaft invented the tape recorder, the crucial technological advancement needed for musique concrete to be realised.

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[eldiablo6969]

The music is great but the video makes me dizzy.

[foxtrotgin]

This is wonderful!

[OldMusicOnVinyl1]

Wow! I couldn't believe this was made in 1952!