Page "Musique concrète" Paragraph 1

In 1928 the music critic Andre Coeuroy, wrote in the Panorama of Contemporary Music that " perhaps the time is not far off when a composer will be able to represent through recording, music specifically composed for the gramophone " ( Coeuroy 1928, 162 ).

In the same period the American composer Henry Cowell, in referring to the projects of Nikolai Loptatnikoff, believed that " there was a wide field open for the composition of music for phonographic discs.

" This sentiment was echoed further in 1930 by Igor Stravinsky, when he stated in the revue Kultur und Schalplatte that " there will be a greater interest in creating music in a way that will be peculiar to the gramophone record.

" The following year, 1931, Boris de Schloezer also expressed the opinion that one could write for the gramophone or for the wireless just as one can for the piano or the violin ( Battier 2007, 190 ).

Shortly after, Rudolf Arnheim discussed the effects of microphonic recording in an essay entitled Radio, published in 1936.

In it the idea of a creative role for the recording medium was introduced and Amheim stated that: " The rediscovery of the musicality of sound in noise and in language, and the reunification of music, noise and language in order to obtain a unity of material: that is one of the chief artistic tasks of radio " ( Battier 2007, 193 ).