Editing Pierre Schaeffer (section)

=== Influences on music ===
In 1955, [[Éliane Radigue]], an apprentice of Pierre Schaeffer at [[Studio d'Essai]], learned to cut, splice and edit tape using his techniques. She then went on to work as an assistant to [[Pierre Henry]] in 1967. However, she became more interested in tape feedback and began working on her own pieces. She composed several works (''Jouet Electronique'' [1967], ''Elemental I'' [1968], ''Stress-Osaka'' [1969]'', Usral'' [1969]'', Ohmnht'' [1970] ''Vice Versa, etc'' [1970]) by processing the feedback between two tape recorders and a microphone.<ref>{{Cite book|last=Rodgers|first=Tara|url=http://read.dukeupress.edu/books/book/2189/Pink-NoisesWomen-on-Electronic-Music-and-Sound|title=Pink Noises: Women on Electronic Music and Sound|date=2010|publisher=Duke University Press|isbn=978-0-8223-4661-6|language=en|doi=10.1215/9780822394150}}</ref>

Pierre's GRM student [[Jean Michel Jarre]] went on to great international success. Jarre's 1997 album [[Oxygene 7-13]] is dedicated to Schaeffer. [[Pierre Henry]] also made a tribute to the man, composing his ''Écho d'Orphée, Pour P. Schaeffer'' alongside him for Schaeffer's last work and second compilation, ''L'Œuvre Musicale''. His other notable pupils include [[Joanna Bruzdowicz]], [[Jorge Antunes (composer)|Jorge Antunes]], [[Bernard Parmegiani]], [[Micheline Coulombe Saint-Marcoux]], [[Armando Santiago]], [[Elzbieta Sikora]].

In the early 1980s, Pierre Schaeffer distanced himself from the contemporary musical scene after criticizing the avant-garde of the 1950s, which intended to break with tradition. Schaeffer recognized the virtuoso [[Otavio Henrique Soares Brandão]] as his most faithful disciple, who under his guidance performed a reading of his work "Traité des Objets Musicaux". This reading aims to create an innovative piano and musical instrumental technique that does not break with tradition. Pierre Schaeffer wrote four texts on the topic: "Apropos de la Transcription pour Piano par Otavio Brandão de l'Étude aux Objets" (1988); "Réponse à Otávio", in text of the program of the Soares Brandão concert at Salle Pleyel in honor of Schaeffer's eightieth birthday (1990); "Declaration de Pierre Schaeffer sur Ibis et Otavio Soares Brandão" (1990); and "Déclaration de Pierre Schaeffer (Porte Parole)" (1993).<ref>[https://issuu.com/ibisfsb/docs/textes_de_pierre_schaeffer_sur_ohsb Textes de Pierre Schaeffer à propos d´Otavio Henrique Soares Brandão, by Ibis Soares Brandão – Issuu]</ref><ref>{{Cite web |url=https://fandalism.com/ibisfsb/bBWf |title=Otavio Henrique Soares Brandao – Piano – Resposta a Schaeffer I, by Otavio Soares Brandão. |access-date=24 June 2021 |archive-date=24 June 2021 |archive-url=https://web.archive.org/web/20210624234818/https://fandalism.com/ibisfsb/bBWf |url-status=dead }}</ref>

Many [[rap]] albums, such as ''[[It Takes A Nation of Millions To Hold Us Back]]'' by [[Public Enemy (group)|Public Enemy]] and ''[[3 Feet High And Rising]]'' by [[De La Soul]] take ordinary sounds and use them to create a finished product.<ref>''The Effects of Musique Concrete'' at ''Musique Concrete'' – ''History and Figures'' {{cite web |url=http://wise.fau.edu/~hieronym/EMMusiqueConcrete.htm |title=FAU Electronic Music - Musique Concrete: History and Figures |access-date=2013-01-06 |url-status=dead |archive-url=https://web.archive.org/web/20130618093101/http://wise.fau.edu/~hieronym/EMMusiqueConcrete.htm |archive-date=18 June 2013 |df=dmy-all }}</ref>