Digital Ethnomusicology

My blog posts cover a broad range of topics, from ethnomusicology research methods, to instrument classification to digital research.

  • Home
    Home This is where you can find all the blog posts throughout the site.
  • Categories
    Categories Displays a list of categories from this blog.
  • Tags
    Tags Displays a list of tags that has been used in the blog.
  • Bloggers
    Bloggers Search for your favorite blogger from this site.
  • Team Blogs
    Team Blogs Find your favorite team blogs here.
  • Archives
    Archives Contains a list of blog posts that were created previously.
  • Login

Musique Concrete

Posted by on in Ethnomusicology Enquiries
  • Font size: Larger Smaller
  • Hits: 2947
  • Report this post
Author Profile: Patrick Egan

This author has published 17 articles so far. More info about the author is coming soon.

Great introduction to Musique Concrete - Reminds me of Lee Scratch Perry and the world of dub

And from this article - "Dub, of course, developed out of reggae, as producers engaged in a “remixing” process of sorts that, like most remixing today, was not just a rearranging of parts but also the addition of other aural elements. As I learned more about dub from the book mentioned above, Modulations, I found out that the producers behind dub (to use a clichénow) used the studio as an instrument: “[King] Tubby more or less invented the techniques of “dub” by dropping parts of the rhythm in and out of the mix, using equalization effects and altering the feel of the record with echo, delay, and reverb.” (I’ve lost the exact page number for this) In the same way that Pierre Schaeffer took found and recorded sounds from our natural environment and transformed these into musique concrete with his tape experiments, dub producers took the popular genre of reggae as their source and palette with which to further experiment with the studio. The studio then became more than a place where music was simply recorded as realistically as it was played in real-time. As Veal explains, “Prior to the 1950s… the role of the engineer had nevertheless been widely misunderstood as a purely technical one, concerned mainly with the ostensibly “accurate” translation of musical performances onto a recorded format. "

Trackback URL for this blog entry.
Ethnomusicologist and web developer, currently in year three of my PhD studies at University College Cork in the Digital Humanities with Ethnomusicology. Research interests include; theorising and questioning the significance of the digital, content creation and representation with digital tools, Music Encoding Initiative, interface development, repatriation and dissemination of digital collections.