Edgard Varèse in the context of "Noise music"

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⭐ Core Definition: Edgard Varèse

Edgard Victor Achille Charles Varèse (French: [ɛdɡaʁ viktɔʁ aʃil ʃaʁl vaʁɛz]; also spelled Edgar; December 22, 1883 – November 6, 1965) was a French and American composer who spent the greater part of his career in the United States. Varèse's music emphasizes timbre and rhythm; he coined the term "organized sound" in reference to his own musical aesthetic. Varèse's conception of music reflected his vision of "sound as living matter" and of "musical space as open rather than bounded". He conceived the elements of his music in terms of "sound-masses", likening their organization to the natural phenomenon of crystallization. Varèse thought that "to stubbornly conditioned ears, anything new in music has always been called noise", and he posed the question, "what is music but organized noises?"

Although his complete surviving works only last about three hours, he has been recognized as an influence by several major composers of the late 20th century. Varèse saw potential in using electronic media for sound production, and his use of new instruments and electronic resources led to his being known as the "Father of Electronic Music"; Henry Miller described him as "The stratospheric Colossus of Sound".

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👉 Edgard Varèse in the context of Noise music

Noise music (or simply noise) is a subgenre of experimental music that is characterised by its use of unwanted noise as a primary musical element. The genre has roots in early 20th century avant-garde music, but later drew influence from industrial music. It is characterized by a rejection of conventional music theory and traditional song structures, often featuring little or no melody, rhythm, or harmony. This type of music tends to challenge the conventional distinction between musical and non-musical sound.

"Noise as music" originated as an avant-garde music style in the 1910s through the work of Luigi Russolo an Italian Futurist, who published the manifesto The Art of Noises in 1913. Elements of noise music were later explored by artists in the Dada and Fluxus movements, as well as through electroacoustic music, modern classical and musique concrète. Composers such as John Cage, Edgard Varèse and James Tenney would explicitly use the term "noise" to describe some of their experimental practices. During the 1960s and 1970s, compositions such as Robert Ashley's "The Wolfman" (1964) and Pauline Oliveros "A Little Noise In The System" (1967) were among the earliest examples of contemporary noise music. While works by non-academic artists such as Lou Reed's Metal Machine Music were influential for later noise artists.

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Edgard Varèse in the context of Musique concrète

Musique concrète (French pronunciation: [myzik kɔ̃kʁɛt]; lit.'concrete music') is a type of music composition that utilizes recorded sounds as raw material. Sounds are often modified through the application of audio signal processing and tape music techniques, and may be assembled into a form of sound collage. It can feature sounds derived from recordings of musical instruments, the human voice, and the natural environment, as well as those created using sound synthesis and computer-based digital signal processing. Compositions in this idiom are not restricted to the normal musical rules of melody, harmony, rhythm, and metre. The technique exploits acousmatic sound, such that sound identities can often be intentionally obscured or appear unconnected to their source cause.

The theoretical basis of musique concrète as a compositional practice was developed by French composer Pierre Schaeffer, beginning in the early 1940s. It was largely an attempt to differentiate between music based on the abstract medium of notation and that created using so-called sound objects (French: l'objet sonore). By the early 1950s, musique concrète was contrasted with "pure" elektronische Musik as then developed in West Germany – based solely on the use of electronically produced sounds rather than recorded sounds – but the distinction has since been blurred such that the term "electronic music" covers both meanings. Schaeffer's work resulted in the establishment of France's Groupe de Recherches de Musique Concrète (GRMC), which attracted important figures including Pierre Henry, Luc Ferrari, Pierre Boulez, Karlheinz Stockhausen, Edgard Varèse, and Iannis Xenakis. From the late 1960s onward, and particularly in France, the term acousmatic music (French: musique acousmatique) was used in reference to fixed media compositions that utilized both musique concrète-based techniques and live sound spatialisation.

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Edgard Varèse in the context of Musical analysis

Musical analysis is the study of musical structure in either compositions or performances. According to music theorist Ian Bent, music analysis "is the means of answering directly the question 'How does it work?'". The method employed to answer this question, and indeed exactly what is meant by the question, differs from analyst to analyst, and according to the purpose of the analysis. According to Bent, "its emergence as an approach and method can be traced back to the 1750s. However it existed as a scholarly tool, albeit an auxiliary one, from the Middle Ages onwards."

The principle of analysis has been variously criticized, especially by composers, such as Edgard Varèse's claim that, "to explain by means of [analysis] is to decompose, to mutilate the spirit of a work".

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