Editing Musique concrète (section)

==In popular music==
Although Schaeffer's work aimed to defamiliarize the used sounds, other composers favoured the familiarity of source material by using snippets of music or speech taken from popular entertainment and mass media, with the ethic that "truly contemporary art should reflect not just nature or the industrial-urban environment but the mediascape in which humans increasingly dwelled", according to writer [[Simon Reynolds]]. Composers such as [[James Tenney]] and [[Arne Mellnäs]] created pieces in the 1960s that recontextualised the music of [[Elvis Presley]] and the singer's own voice, respectively, while later in the decade, Bernard Parmegiani created the pieces ''Pop'electric'' and ''Du pop a l'ane'', which used fragments of musical genres such as [[easy listening]], [[dixieland]], [[classical music]] and [[progressive rock]].{{sfn|Reynolds|2021}} Reynolds writes that this approach continued in the later work of musicians [[Matmos]], whose ''[[A Chance to Cut Is a Chance to Cure]]'' (2001) was created with the sounds of [[cosmetic surgery]], and the "pop-[[sound collage|collage]]" work of [[John Oswald (composer)|John Oswald]], who referred to the approach as '[[plunderphonics]]'. Oswald's ''Plexure'' (1993) was created using recognisable elements of rock and pop music from 1982 to 1992.{{sfn|Reynolds|2021}}

===1960s===
In the 1960s, as popular music began to increase in cultural importance and question its role as commercial entertainment, many popular musicians began taking influence from the post-war avant-garde, including [[Brian Wilson]] of [[the Beach Boys]], who would use silence as an instrument on the group's single "[[The Little Girl I Once Knew]]" (1965) and splice in a [[found sound]] recording of passing trains that served as a "musical tag" in the [[Pet Sounds|album version]] of his solo release "[[Caroline, No]]" (1966). He was to have expanded on this further with the ultimately-cancelled Beach Boys album, ''[[Smile (The Beach Boys album)|Smile]]'' (1967), where he had plans on weaving in studio recordings of [[Heroes and Villains|spoken word]] interruptions, [[Vegetables (song)|vegetable chomping]] for percussion, construction tools in operation, and [[Mrs. O'Leary's Cow (instrumental)|wood burning in a trash bin]], as well as Nagra tape recordings of various water sources, with the idea of these being crucial aspects of the music. Alongside Wilson, popular exponents of this practice were [[the Beatles]], who incorporated techniques such as tape loops, speed manipulation, and reverse playback in their song "[[Tomorrow Never Knows]]" (1966).{{sfn|Albiez|2017}} Bernard Gendron describes the Beatles' ''musique concrète'' experimentation as helping popularise avant-garde art in the era, alongside [[Jimi Hendrix]]'s use of [[noise music|noise]] and [[guitar feedback|feedback]], [[Bob Dylan]]'s surreal lyricism and [[Frank Zappa]]'s "ironic detachment".{{sfn|Gendron|2002}} In ''[[The Wire (magazine)|The Wire]]'', [[Edwin Pouncey]] wrote that the 1960s represented the height of confluence between rock and academic music, noting that composers like [[Luciano Berio]] and Pierre Henry found likeness in the "distorting-mirror" sound of [[psychedelic rock]], and that ''concrète''<nowiki/>'s contrasting tones and timbres were suited to the effects of [[psychedelic drug]]s.{{sfn|Pouncey|1999}}

Following the Beatles' example, many groups incorporated found sounds into otherwise typical pop songs for psychedelic effect, resulting in "pop and rock musique concrète flirtations"; examples include [[the Lovin' Spoonful]]'s "[[Summer in the City (song)|Summer in the City]]" (1966), [[Love (band)|Love]]'s "[[7 and 7 Is]]" (1967) and [[The Box Tops]]' "[[The Letter (Box Tops song)|The Letter]]" (1967).{{sfn|Pouncey|1999}} Popular musicians more versed in modern classical and experimental music utilised elements of musique concrète more maturely, including Zappa and [[the Mothers of Invention]] on pieces like the [[Edgard Varèse]] tribute "[[The Return of the Son of Monster Magnet]]" (1966), "[[We're Only in It for the Money|The Chrome Planted Megaphone of Destiny]]" and ''[[Lumpy Gravy]]'' (both 1968), and [[Jefferson Airplane]]'s "Would You Like a Snack?" (1968), while the [[Grateful Dead]]'s album ''[[Anthem of the Sun]]'' (1968), which featured Berio student [[Phil Lesh]] on bass, features musique concrète passages that Pouncey compared to Varèse's ''Deserts'' and the "keyboard deconstructions" of John Cage and [[Conlon Nancarrow]].{{sfn|Pouncey|1999}} The Beatles continued their use of concrète on songs such as "[[Strawberry Fields Forever]]", "[[Being for the Benefit of Mr. Kite!]]" and "[[I Am the Walrus]]" (all 1967), before the approach climaxed with the pure musique concrète piece "[[Revolution 9]]" (1968); afterwards, [[John Lennon]], alongside wife and [[Fluxus]] artist [[Yoko Ono]], continued the approach on their solo works ''[[Unfinished Music No. 1: Two Virgins|Two Virgins]]'' (1968) and ''[[Unfinished Music No. 2: Life with the Lions|Life with the Lions]]'' (1969).{{sfn|Pouncey|1999}}

===1970s===
The musique concrète elements present on [[Pink Floyd]]'s best-selling album ''[[The Dark Side of the Moon]]'' (1973), including the cash register sounds on "[[Money (Pink Floyd song)|Money]]", have been cited as notable examples of the practice's influence on popular music.{{sfn|Huckvale|2014|p=118}}{{sfn|Edmondson|2013|p=1,129}} Also in 1973, German band [[Faust (band)|Faust]] released ''[[The Faust Tapes]]''; priced in the United Kingdom at 49 pence, the album was described by writer Chris Jones as "a contender for the most widely heard piece of musique concrete" after "Revolution 9".{{sfn|Jones|2002}} Another German group, [[Kraftwerk]], achieved a surprise hit in 1975 with "[[Autobahn (song)|Autobahn]]", which contained a "sampled collage of revving engines, horns and traffic noise". Stephen Dalton of ''[[The Times]]'' wrote: "This droll blend of accessible pop and avant-garde musique concrete propelled Kraftwerk across America for three months".{{sfn|Dalton|2005}} Steve Taylor writes that [[industrial music|industrial]] groups [[Throbbing Gristle]] and [[Cabaret Voltaire (band)|Cabaret Voltaire]] continued the concrète tradition with collages constructed with tape manipulation and loops,{{sfn|Taylor|2006|p=11}} while Ian Inglis credits [[Brian Eno]] for introducing new sensibilities "about what could be in included in the canon of popular music", citing his 1970s [[ambient music|ambient]] work and the musique concrete collages on ''[[My Life in the Bush of Ghosts (album)|My Life in the Bush of Ghosts]]'' (1981), which combines tape samples with synthesised sounds.{{sfn|Inglis|2016|p=115}}

===1980s and beyond===
With the emergence of [[hip hop music]] in the 1980s, [[deejay]]s such as [[Grandmaster Flash]] utitlised [[turntablism|turnables]] to "[montage] in real time" with portions of rock, [[rhythm and blues|R&B]] and [[disco]] records, in order to create [[groove (music)|groove]]-based music with percussive [[scratching]]; this provided a parallel breakthrough to collage artist [[Christian Marclay]]'s use of vinyl records as a "noise-generating medium" in his own work.{{sfn|Reynolds|2021}} Reynolds wrote: "As [[music sampler|sampling]] technology grew more affordable, DJs-turned-producers like [[Eric B.]] developed hip-hop into a studio-based art. Although there was no direct line traceable between the two Pierres and [[Marley Marl]], it was as if ''musique concrète'' went truant from the academy and became street music, the soundtrack to block parties and driving."{{sfn|Reynolds|2021}} He described this era of hip hop as "the most vibrant and flourishing descendant – albeit an indirect one – of ''musique concrète''".{{sfn|Reynolds|2021}} ''[[Chicago Reader]]'''s J. Niimi writes that when [[Public Enemy]] producers [[the Bomb Squad]] "unwittingly revisited" the concept of musique concrète with their sample-based music, they proved that the technique "worked great as pop".{{sfn|Niimi|2005}}

In 1989, John Diliberto of ''Music Technology'' described the group [[Art of Noise]] as having both digitised and synthesised musique concrète and "locked it into a crunching groove and turned it into dance music for the '80s". He wrote that while Schaeffer and Henry used tapes in their work, Art of Noise "uses [[Fairlight CMI]]s and [[Akai S1000]] samplers and the skyscrapers of [[multitrack recording]] to create their updated sound".{{sfn|Diliberto|1989}} As described by [[Will Hodgkinson]], Art of Noise brought classical and avant-garde sounds into pop by "[aiming] to emulate the musique concrète composers of the 1950s" via Fairlight samplers instead of tape.{{sfn|Hodgkinson|2003}} In a piece for ''[[Pitchfork (website)|Pitchfork]]'', musicians Matmos noted the use of musique concrète in later popular music, including the crying baby effects in [[Aaliyah]]'s "[[Are You That Somebody?]]" (1998) or [[Missy Elliott]]'s "[[Work It (Missy Elliott song)|backwards chorus]]", while noting that the aesthetic was arguably built upon by works including Art of Noise's "[[Close (to the Edit)]]" (1984), [[Meat Beat Manifesto]]'s ''[[Storm the Studio]]'' (1989) and the work of Public Enemy, [[Negativland]] and [[People Like Us (musician)|People Like Us]], among other examples.{{sfn|Daniels|2003}} [[Chuck Eddy]] writes that, by 1991, [[heavy metal music|heavy metal]] bands began absorbing a wealth of esoteric outside inspirations, citing the "found-sound jackhammer-and-national-anthem musique concrète" on [[Slaughter (band)|Slaughter]]'s "[[Up All Night (Slaughter song)|Up All Night]]" (1990) as a key example.{{sfn|Eddy|1991|p=8}}