Editing Electronic music (section)

=== Musique concrète ===
{{main|Musique concrète}}
{{See also|Acousmatic music}}
{{multiple image |direction=horizontal
 | image1   = Phonogene.jpg|width1=126
 | caption1 = [[Musique concrète#The phonogene|Phonogene]] (1953), a tape machine for modifying the sound structure, developed by [[Pierre Schaeffer]] et al. <!-- and Jacques Poullin --> at GRMC
 | image2   = Psconcer.jpg |width2=220
 | caption2 = [[Pierre Schaeffer]] presenting the [[Acousmonium]] (1974) that consisted of 80 loudspeakers for tape playback, at [[Groupe de Recherches Musicales|GRM]]
}}
Following his work with [[Studio d'Essai]] at [[Radiodiffusion-Télévision Française|Radiodiffusion Française]] (RDF), during the early 1940s, [[Pierre Schaeffer]] is credited with originating the theory and practice of musique concrète. In the late 1940s, experiments in sound-based composition using [[shellac]] record players were first conducted by Schaeffer. In 1950, the techniques of musique concrete were expanded when magnetic tape machines were used to explore sound manipulation practices such as speed variation ([[pitch shift]]) and [[tape splicing]].{{sfn|Palombini|1993|loc=14}}<ref>"Musique Concrete was created in Paris in 1948 from edited collages of everyday noise" ({{harvnb|Lebrecht|1996|p=107}}).</ref>

On 5 October 1948, RDF broadcast Schaeffer's ''Etude aux chemins de fer''. This was the first "[[movement (music)|movement]]" of ''Cinq études de bruits'', and marked the beginning of studio realizations<ref>NB: To the pioneers, an electronic work did not exist until it was "realized" in a real-time performance ({{harvnb|Holmes|2008|p=122}}).</ref> and musique concrète (or acousmatic art). Schaeffer employed a [[disc cutting lathe]], four turntables, a four-channel mixer, filters, an echo chamber, and a mobile recording unit. Not long after this, [[Pierre Henry]] began collaborating with Schaeffer, a partnership that would have profound and lasting effects on the direction of electronic music. Another associate of Schaeffer, [[Edgard Varèse]], began work on ''[[Déserts]]'', a work for chamber orchestra and tape. The tape parts were created at Pierre Schaeffer's studio and were later revised at [[Columbia University]].

In 1950, Schaeffer gave the first public (non-broadcast) concert of musique concrète at the [[École Normale de Musique de Paris]]. "Schaeffer used a [[Public address system|PA system]], several turntables, and mixers. The performance did not go well, as creating live montages with turntables had never been done before."{{sfn|Snyder|1998}} Later that same year, Pierre Henry collaborated with Schaeffer on ''Symphonie pour un homme seul'' (1950) the first major work of musique concrete.{{sfn|Manning|2004|p=23}} In Paris in 1951, in what was to become an important worldwide trend, RTF established the first studio for the production of electronic music. Also in 1951, Schaeffer and Henry produced an opera, ''Orpheus'', for concrete sounds and voices.

By 1951 the work of Schaeffer, composer-percussionist Pierre Henry, and sound engineer Jacques Poullin had received official recognition and [[Musique concrète#Groupe de Recherche de Musique Concrète|The Groupe de Recherches de Musique Concrète]], Club d 'Essai de la [[Radiodiffusion-Télévision Française]] was established at RTF in Paris, the ancestor of the [[ORTF]].{{sfn|Lange|2009|p=173}}