Editing Pierre Schaeffer (section)

=== Musique concrète ===
{{Main|Musique concrète}}{{See also|Acousmatic music}}

[[Image:Steam Locomotive.jpg|200px|thumb|left|Schaeffer often created his "concrete music" with real-world sounds. The notable ''Railroad Study'' (French: "''[[Cinq études de bruits|Étude aux chemins de fer]]''"), for instance, featured recordings of the noises made by [[trains]] running along railroad tracks.]]

{{Rquote|right|Sound is the vocabulary of nature.|Pierre Schaeffer|}}

The term '''musique concrète''' (French for "'''real music'''", literally "'''concrete music'''"), was coined by Schaeffer in 1948.<ref>*[[Michael Kennedy (music critic)|Kennedy, Michael]] (2006), ''The Oxford Dictionary of Music'', 985 pages, {{ISBN|0-19-861459-4}}</ref> Schaeffer believed traditionally classical (or as he called it, "serious") music begins as an abstraction (musical notation) that is later produced as audible music. Musique concrète, by contrast, strives to start with the "concrete" sounds that emanate from base [[phenomena]] and then abstracts them into a composition. The term musique concrète is then, in essence, the breaking down of the structured production of traditional instruments, [[harmony]], rhythm, and even [[music theory]] itself, in an attempt to reconstruct music from the bottom up.

From the contemporary point of view, the importance of Schaeffer's musique concrète is threefold. He developed the concept of including any and all sounds into the vocabulary of music. At first he concentrated on working with sounds other than those produced by traditional musical instruments. Later on, he found it was possible to remove the familiarity of musical instrument sounds and abstract them further by techniques such as removing the attack of the recorded sound. He was among the first musicians to manipulate recorded sound for the purpose of using it in conjunction with other sounds in order to compose a musical piece. Techniques such as [[tape looping]] and tape splicing were used in his research, often comparing to [[sound collage]]. The advent of Schaeffer's manipulation of recorded sound became possible only with technologies that were developed after World War II had ended in Europe. His work is recognized today as an essential precursor to contemporary sampling practices. Schaeffer was among the first to use recording technology in a creative and specifically musical way, harnessing the power of [[electronic musical instrument|electronic]] and [[experimental musical instrument|experimental]] instruments in a manner similar to [[Luigi Russolo]], whom he admired and from whose work he drew inspiration.

Furthermore, he emphasized the importance of "playing" (in his term, ''jeu'') in the creation of music. Schaeffer's idea of ''jeu'' comes from the French verb ''jouer'', which carries the same double meaning as the English verb [[play (activity)|play]]: 'to enjoy oneself by interacting with one's surroundings', as well as 'to operate a musical instrument'. This notion is at the core of the concept of musique concrète, and reflects on [[free improvisation|freely improvised sound]], or perhaps more specifically [[electroacoustic improvisation]], from the standpoint of Schaeffer's work and research.