In music, montage (literally "putting together") or sound collage ("gluing together") is a technique where newly branded sound objects or compositions, including songs, are created from collage, also known as montage. This is often done through the use of sampling, while some playable sound collages were produced by gluing together sectors of different vinyl records. In any case, it may be achieved through the use of previous sound recordings or musical scores.[citation needed] Like its visual cousin, the collage work may have a completely different effect than that of the component parts, even if the original parts are completely recognizable or from only one source.
The origin of sound collage can be traced back to the works of Biber's programmatic sonata Battalia (1673) and Mozart'sDon Giovanni (1789), and some critics[who?] have described certain passages in Mahler symphonies as collage, but the first fully developed collages occur in a few works by Charles Ives, whose piece Central Park in the Dark, composed in 1906, creates the feeling of a walk in the city by layering several distinct melodies and quotations on top of each other. Thus, the use of collage in music actually predates its use in painting by artists like Picasso and Braque, who are generally credited with creating the first collage paintings around 1912.[citation needed]
Earlier traditional forms and procedures such as the quodlibet, medley, potpourri, and centonization differ from collage in that the various elements in them are made to fit smoothly together, whereas in a collage clashes of key, timbre, texture, meter, tempo, or other discrepancies are important in helping to preserve the individuality of the constituent elements and to convey the impression of a heterogeneous assemblage.[1] What made their technique true collage, however, was the juxtaposition of quotations and unrelated melodies, either by layering them or by moving between them in quick succession, as in a film montage sequence.[citation needed]
The first documented instance of sound collage created by electronic means is the piece "Wochenende" (in English, "Weekend"), a collage of words, music and sounds created by film-maker and media artist Walter Ruttmann in 1928.[2] Later, in 1948, Pierre Schaeffer used the techniques of sound collage to create the first piece of musique concrète, "Étude aux chemins de fer", which was assembled from recordings of trains. Schaeffer created this piece by recording sounds of trains onto several vinyl records, some of which had lock grooves allowing them to play in a continuous loop. He then set up multiple turntables in his studio, allowing him to trigger and mix together the various train sounds as needed.[3]
Today audio collage may be thought of as Fluxuspostmodern and a form of digital art. George Rochberg is a composer well-known for his use of collage in pieces including Contra Mortem et Tempus and Symphony No. 3.[4] According to music theorist Cristina Losada, the third movement of Luciano Berio's Sinfonia is often considered "the prototype of a musical collage."[5]
Micromontage
Micromontage is the use of montage on the time scale of microsounds. Its primary proponent is composer Horacio Vaggione in works such as Octuor (1982), Thema (1985, Wergo 2026-2), and Schall (1995, Mnémosyne Musique Média LDC 278–1102). The technique may include the extraction and arrangement of sound particles from a sample or the creation and exact placement of each particle to create complex sound patterns or singular particles (transients). It may be accomplished through graphic editing, a script, or automated through a computer program.[6]
creation or compilation of a library of sound files on several different time scales
importation into the library of the editing and mixing program
use of the cursor, script, or algorithm to position each sound at a specific time-point or time-points
editing of the duration, amplitude, and spatial positions of all sounds (possibly done by a script or algorithm)
Granular synthesis incorporates many of the techniques of micromontage, though granular synthesis is inevitably automated while micromontage may be realized directly, point by point. "It therefore demands unusual patience" and may be compared to the pointillistic paintings of Georges Seurat.[6]
^J. Peter Burkholder, "Collage", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001).
^Richard James, "Avant-Garde Sound-on-Film Techniques and Their Relationship to Electro-Acoustic Music", The Musical Quarterly 72, no.1 (January 1986): 78.
^Horace Kemwer, "Case Study: Pierre Schaeffer", Against the Modern World. Retrieved on 2009-12-29.
^Stephen Jaffe." Conversation between SJ and JS on the New Tonality", Contemporary Music Review 6, no. 2 (1992): 27–38.
^Losada, Cristina Catherine. “A Theoretical Model for the Analysis of Collage in Music Derived from Selected Works by Berio, Zimmermann, and Rochberg.” PhD diss., City University of New York, 2004. p. 55.
^ abcCurtis Roads, Microsound (Cambridge: MIT Press, 2001): 182–87. ISBN0-262-18215-7.
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This article possibly contains original research Please improve it by verifying the claims made and adding inline citations Statements consisting only of original research should be removed February 2021 Learn how and when to remove this template message In music montage literally putting together or sound collage gluing together is a technique where newly branded sound objects or compositions including songs are created from collage also known as montage This is often done through the use of sampling while some playable sound collages were produced by gluing together sectors of different vinyl records In any case it may be achieved through the use of previous sound recordings or musical scores citation needed Like its visual cousin the collage work may have a completely different effect than that of the component parts even if the original parts are completely recognizable or from only one source Sound collageCultural origins17th centuryDerivative formsMusique concreteplunderphonicsOther topicsAvant garde music Contents 1 History 2 Micromontage 3 See also 4 Sources 5 Further readingHistory EditThe origin of sound collage can be traced back to the works of Biber s programmatic sonata Battalia 1673 and Mozart s Don Giovanni 1789 and some critics who have described certain passages in Mahler symphonies as collage but the first fully developed collages occur in a few works by Charles Ives whose piece Central Park in the Dark composed in 1906 creates the feeling of a walk in the city by layering several distinct melodies and quotations on top of each other Thus the use of collage in music actually predates its use in painting by artists like Picasso and Braque who are generally credited with creating the first collage paintings around 1912 citation needed Earlier traditional forms and procedures such as the quodlibet medley potpourri and centonization differ from collage in that the various elements in them are made to fit smoothly together whereas in a collage clashes of key timbre texture meter tempo or other discrepancies are important in helping to preserve the individuality of the constituent elements and to convey the impression of a heterogeneous assemblage 1 What made their technique true collage however was the juxtaposition of quotations and unrelated melodies either by layering them or by moving between them in quick succession as in a film montage sequence citation needed The first documented instance of sound collage created by electronic means is the piece Wochenende in English Weekend a collage of words music and sounds created by film maker and media artist Walter Ruttmann in 1928 2 Later in 1948 Pierre Schaeffer used the techniques of sound collage to create the first piece of musique concrete Etude aux chemins de fer which was assembled from recordings of trains Schaeffer created this piece by recording sounds of trains onto several vinyl records some of which had lock grooves allowing them to play in a continuous loop He then set up multiple turntables in his studio allowing him to trigger and mix together the various train sounds as needed 3 Today audio collage may be thought of as Fluxus postmodern and a form of digital art George Rochberg is a composer well known for his use of collage in pieces including Contra Mortem et Tempus and Symphony No 3 4 According to music theorist Cristina Losada the third movement of Luciano Berio s Sinfonia is often considered the prototype of a musical collage 5 Micromontage EditMicromontage is the use of montage on the time scale of microsounds Its primary proponent is composer Horacio Vaggione in works such as Octuor 1982 Thema 1985 Wergo 2026 2 and Schall 1995 Mnemosyne Musique Media LDC 278 1102 The technique may include the extraction and arrangement of sound particles from a sample or the creation and exact placement of each particle to create complex sound patterns or singular particles transients It may be accomplished through graphic editing a script or automated through a computer program 6 Regardless digital micromontage requires 6 creation or compilation of a library of sound files on several different time scales importation into the library of the editing and mixing program use of the cursor script or algorithm to position each sound at a specific time point or time points editing of the duration amplitude and spatial positions of all sounds possibly done by a script or algorithm Granular synthesis incorporates many of the techniques of micromontage though granular synthesis is inevitably automated while micromontage may be realized directly point by point It therefore demands unusual patience and may be compared to the pointillistic paintings of Georges Seurat 6 See also EditMusique concrete Detournement Mashup Remix Revolution 9 Sampling music Some Assembly Required radio program WhoSampled Plunderphonics Category Sound collage albumsSources Edit J Peter Burkholder Collage The New Grove Dictionary of Music and Musicians second edition edited by Stanley Sadie and John Tyrrell London Macmillan Publishers 2001 Richard James Avant Garde Sound on Film Techniques and Their Relationship to Electro Acoustic Music The Musical Quarterly 72 no 1 January 1986 78 Horace Kemwer Case Study Pierre Schaeffer Against the Modern World Retrieved on 2009 12 29 Stephen Jaffe Conversation between SJ and JS on the New Tonality Contemporary Music Review 6 no 2 1992 27 38 Losada Cristina Catherine A Theoretical Model for the Analysis of Collage in Music Derived from Selected Works by Berio Zimmermann and Rochberg PhD diss City University of New York 2004 p 55 a b c Curtis Roads Microsound Cambridge MIT Press 2001 182 87 ISBN 0 262 18215 7 Further reading EditJoline Blais and Jon Ippolito At the Edge of Art London Thames amp Hudson Ltd 2006 Buci Glucksmann Christine L art a l epoque virtuel In Frontieres esthetiques de l art Arts 8 page needed Paris L Harmattan 2004 Couchot Edmond Des Images du temps et des machines dans les arts et la communication Nimes J Chambon 2007 ISBN 2 7427 6940 4 Forest Fred Art et Internet Paris Editions Cercle D Art Imaginaire Mode d Emploi 2008 ISBN 978 2 7022 0864 9 Liu Alan The Laws of Cool Knowledge Work and the Culture of Information Chicago University of Chicago Press 2004 Lovejoy Margot Digital Currents Art in the Electronic Age London Routledge 2004 Paul Christiane Digital Art London and New York Thames amp Hudson Ltd 2003 ISBN 0 500 20367 9 Popper Frank From Technological to Virtual Art Leonardo Series Cambridge MIT Press 2007 ISBN 0 262 16230 X Taylor Brandon Collage London Thames amp Hudson Ltd 2006 Wands Bruce Art of the Digital Age London and New York Thames amp Hudson 2006 ISBN 0 500 23817 0 hbk ISBN 0 500 28629 9 pbk Retrieved from https en wikipedia org w index php title Sound collage amp oldid 1115692099, wikipedia, wiki, book, books, library,
