YOKO ONO| SERIAL ESSAYS: Antiphony (Henry) (12 pitches-12 durations— -12 silences) Antiphony- Pierre Henry : |Musique concrète| NOT YOKO ONO!!! MICHAEL HANSEN Read the intro then watch with Annotations!!!

SERIAL ESSAYS:

Antiphony (Henry) (12 pitches-12 durations— -12 silences)

Pierre Henry
Antiphony

Antiphony
Pierre Henry

This is NOT Yoko Ono
This was done waaaaaayyyyyyy before Yoko Ono.

Antiphony is one of Pierre Henry's most daring works. It is one of the first examples of musique concrete in which the durations of sounds are precisely controlled. (They are notated in centimetres in the score.) Two " choruses " are here opposed, in medi¬aeval style. On the one hand there are groups formed of constantly varying cellules, on the other there is a rigid series of twelve sound-complexes, differing in timbre, pitch, And volume. The structure of Antiphony relies on rhythmic values which are related to the nature of the material employed. Each sound has its complementary silence. All the " blocks " made of augmented or diminished rhythmic values are,vari-ed in a final section which achieves a kind of hysteria of sound.

Musique concrète (French; literally, "concrete music"), is a style of avant-garde music that relies on recorded sounds, including natural environmental sounds and other noises that are not inherently musical, to create music.
Musique Concrète was pioneered by Pierre Schaeffer in the late 1940s and 1950s. Its development was facilitated by the emergence of new music technology in post-war Europe. Access to microphones and magnetic tape recorders (created in 1939), afforded by an association with the French national broadcasting organization, at that time the Radiodiffusion-Télévision Française, gave Schaeffer and his colleagues an opportunity to experiment with recording technology and tape manipulation.
Schaeffer developed an aesthetic practice that was centered upon the use of sound as a primary compositional resource and emphasized the importance of play (in his terms, jeu) in the creation of music. Schaeffer's idea of jeu comes from the French verb jouer, which carries the same double meaning as the English verb play: 'to enjoy oneself by interacting with one's surroundings', as well as 'to operate a musical instrument'. This notion is central to the musique concrète aesthetic.
In 1951 Schaeffer established the Groupe de Recherche de Musique Concrète (Research Group on Concrete Music) at RTF in Paris, the ancestor of the ORTF. Several notable composers, such as Pierre Boulez, Karlheinz Stockhausen, Edgar Varese and Iannis Xenakis, produced work while engaged with GRMC. In 1958, following the emergence of aesthetic differences, which lead to the rejection of Schaeffer's theories by both Boulez and Stokchausen, the collective became Groupe de Recherches Musicales (GRM).
At this time the group's core members included Schaeffer, Pierre Henry, Luc Ferrari and François-Bernard Mâche. The group continued to refine Schaeffer's ideas and strengthened the concept of musique acousmatique (a term borrowed from Pythagoras which means "perception of sounds of which we ignore the origin"). In 1966 Shaeffer published the book Traité des Objets Musicaux (Treatise on musical objects) which represented the culmination of some 20 years of research in the field of musique concrète. In conjunction with this publication, a set of sound recordings was produced, entitled Le Solfège de l'Objet Sonore (Music Theory of the Acoustic Object), to provide examples of concepts dealt with in the treatise.

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[Xxclusivexx999]

wtf?

[1888junkteam]

excellent work!