Composer

:

Iannis Xenakis

Genre

:

Electronic/Computer

Style

:

Musique Concrète

Compose Date

:

1958

Average_duration

:

2:29

"Concret PH" is a composition by the Greek-French composer Iannis Xenakis. It was composed in 1958 and premiered on June 10, 1958, at the Donaueschingen Festival in Germany. The piece is divided into three movements and is considered one of the most important works of the musique concrète genre. The first movement, titled "Concret P-H I," is characterized by a series of electronic sounds that are manipulated and transformed throughout the piece. The sounds are created by recording various natural and man-made sounds, such as the sound of a train, a factory, and a thunderstorm. These sounds are then processed and transformed using various techniques, such as filtering, pitch shifting, and time stretching. The result is a complex and dynamic soundscape that is both abstract and evocative. The second movement, titled "Concret P-H II," is more rhythmic and structured than the first. It features a series of percussive sounds that are created by manipulating recordings of various objects, such as metal sheets, glass, and wood. These sounds are arranged in a rhythmic pattern that gradually builds in intensity and complexity. The movement is characterized by its use of irregular rhythms and polyrhythms, which create a sense of tension and excitement. The third and final movement, titled "Concret P-H III," is the most abstract and experimental of the three. It features a series of electronic sounds that are manipulated and transformed in real-time using a computer program. The sounds are generated by a series of algorithms that are designed to create complex and unpredictable patterns. The result is a chaotic and unpredictable soundscape that is both challenging and fascinating. Overall, "Concret PH" is a groundbreaking work that pushed the boundaries of electronic music and paved the way for future generations of composers. Its use of natural and man-made sounds, as well as its innovative techniques for manipulating and transforming those sounds, make it a landmark work in the history of musique concrète.

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