Sound collage

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Sound collage
Other namesMusique concrète
Cultural origins17th century
Derivative forms
Other topics

In music, montage (literally "putting together") or sound collage ("gluing together") is a technique where newly branded

postconceptual digital art
.

History

The origin of sound collage can be traced back to the works of

Biber's programmatic sonata Battalia (1673) and Mozart's Don Giovanni (1789), and certain passages in Mahler symphonies as collage, but the first fully developed collages occur in a few works by Charles Ives, whose piece Central Park in the Dark
(1906) creates the feeling of a walk in the city by layering several distinct melodies and quotations on top of each other.

Earlier traditional forms and procedures such as the quodlibet, medley, potpourri, and centonization differ from collage in that the various elements in them are made to fit smoothly together, whereas in a collage clashes of key, timbre, texture, meter, tempo, or other discrepancies are important in helping to preserve the individuality of the constituent elements and to convey the impression of a heterogeneous assemblage.[1] What made their technique true collage, however, was the juxtaposition of quotations and unrelated melodies, either by layering them or by moving between them in quick succession.

A first documented instance of sound collage created as

vinyl records, some of which had lock grooves allowing them to play in a continuous loop. He then set up multiple turntables in his studio, allowing him to trigger and mix together the various train sounds as needed.[3]

According to music theorist Cristina Losada, the third movement of

turntables with frequency recordings.[6]

Important modern sound collage pieces were created by

Groupe de Recherches Musicales. In 1950s and early-1960s Schaeffer, Pierre Henry, Olivier Messiaen, Pierre Boulez, Jean Barraqué, Karlheinz Stockhausen, Edgard Varèse, Iannis Xenakis, Michel Philippot, and Arthur Honegger all worked with sound collage. Examples are Étude I (1951) and Étude II (1951) by Boulez, Timbres-durées (1952) by Messiaen, Étude aux mille collants (1952) by Stockhausen, Le microphone bien tempéré (1952) and La voile d'Orphée (1953) by Henry, Étude I (1953) by Philippot, Étude (1953) by Barraqué, the mixed pieces Toute la lyre (1951) and Orphée 53 (1953) by Schaeffer/Henry, and the film music Masquerage (1952) by Schaeffer and Astrologie (1953) by Henry. In 1954 Varèse and Honegger created Déserts and La rivière endormie". John Cage created his influential collage piece Williams Mix in 1952. More recently, George Rochberg used collage in Contra Mortem et Tempus and Symphony No. 3.[7] In the 1980s Minóy made many palimpsest-like multi-tracked soundscape
compositions that use sound collage.

Micromontage

Micromontage is the use of montage on the

pointillistic paintings of Georges Seurat.[8]

Popular music

Freak Out!, the 1966 debut album by the Mothers of Invention made use of avant-garde sound collage, particularly the closing track The Return of the Son of Monster Magnet.[9] The Beatles incorporated sound collage on their 1968 self-titled double album (also known as the White Album) with the track Revolution 9.[10][11] Uncut wrote that Requia by John Fahey made use of meditative guitar soli with tape collage experimentation on Requiem for Molly.[12]

See also

Sources

  1. John Tyrrell
    (London: Macmillan Publishers, 2001).
  2. ^ Richard James, "Avant-Garde Sound-on-Film Techniques and Their Relationship to Electro-Acoustic Music", The Musical Quarterly 72, no.1 (January 1986): 78.
  3. ^ Horace Kemwer, "Case Study: Pierre Schaeffer", Against the Modern World. Retrieved on 2009-12-29.
  4. ^ Losada, Cristina Catherine. “A Theoretical Model for the Analysis of Collage in Music Derived from Selected Works by Berio, Zimmermann, and Rochberg.” PhD diss., City University of New York, 2004. p. 55.
  5. ^ Griffiths 1995, p. 27
  6. ^ Griffiths 1995, p. 20
  7. ^ Stephen Jaffe." Conversation between SJ and JS on the New Tonality", Contemporary Music Review 6, no. 2 (1992): 27–38.
  8. ^
    ISBN 0-262-18215-7
    .
  9. ^ "Frank Zappa & The Mothers of Invention: The Freak Out Gatefold – Green and Black Music". 2 May 2017. Retrieved 5 May 2023.
  10. ^ Worby, Robert (26 December 2015). "Crackle goes pop: how Stockhausen seduced the Beatles". The Guardian. Retrieved 14 December 2016. The Beatles' Revolution 9 brought experimental music to a global audience.
  11. ^ Kozinn, Allan (7 March 2009). "A Master's in Paul-Is-Definitely-Not-Dead". The New York Times. Retrieved 14 December 2016. ... the freedom they gave themselves to make experimental works like 'Revolution 9.'
  12. ^ "101 Weirdest Albums of All Time". Uncut (238): 70. March 2017.

Further reading

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