concrete music

Also found in: Dictionary, Wikipedia.

concrete music:

see electronic musicelectronic music
or electro-acoustic music,
term for compositions that utilize the capacities of electronic media for creating and altering sounds.

Initially, a distinction must be made between the technological development of electronic instruments and the
..... Click the link for more information.
The Columbia Electronic Encyclopedia™ Copyright © 2013, Columbia University Press. Licensed from Columbia University Press. All rights reserved.
References in periodicals archive ?
For the definitive verion Kabelac chose the following as the basic compositional material of this "concrete music"--which he then processed in very varied and richly inventively ways in the Plzen studio: the sounds of the Zigmund bell, a una voce choral chant of the oldest Czech sacred song Hospodine, pomiluj ny, a choral recital of the text of this song, choral note clusters, recitations of several sentences from the sermon of Vojtech Rackuv mentioned below, his own treatment of the Hussite hymn Povstan, povstan velike mesto Prazske [Arise, Arise Great City of Prague] for organ, a pure sinus generator note and spoken word.
The choral singing of the son Lord Have Mercy, collective recitation of its text and choral clusters are used as the basic sound material of the "concrete music".
Kunkel's essay is the most comprehensive survey of Furrer's style in the book, and provides welcome concrete music examples for the abstract concepts that are so liberally dispensed in discussions of Furrer's music elsewhere in the book, including in the composer's own essays.
The evening of three choreographies entitled "Breath, Pulse, Light..." was based on compositions in the category known as "concrete music" (musique concrete") -- music created in a sound studio and using various electronically processed sounds from the real world.
Before that, though, the visitor might have stopped to look at drawings for the film A Man and His Dog Out for Air, 1957, or to operate the optical or sound machines: For example, Dot Dash, 1964, a new optical instrument after Duchamp, is a piece of wood that can spin, making the shapes painted on each of its sides--a circle and a rectangle--blur into each other; Variations, 19 70, a rotating tabletop with various objects on it, produces a kind of mechanical "concrete music" when you make it turn.
Although these two chapters are technically intense, Rings clarifies his concepts with an abundance of concrete music examples.
Fascinating as these parallels might be, they are presented abstractly, without the benefit of concrete music examples.