Over
the course of several millennia, humans have codified the instrument as a means
of creating music; the instrument is designed to create sounds that fit into
structured music whereas a random object is not. This generalized perception is
prevalent in mainstream – which varies across cultures – music. It rules out
using non-instruments to make music. Musique concrete, a counterculture musical
movement of sorts, challenged this ideology by extending the definition of
music to its individual components. Sounds themselves constitute music, an idea
that leads to the use of sounds in music not necessarily just recognizable
timbres in the form of instruments. The use of instruments, however, does not
contradict the ideas of musique concrete since instruments are indeed a means
of creating sound. Soundscapes, a recording with background sounds present,
evolved from musique concrete; this approach allows for the nontraditional use
of sounds when making music.
In
Zeldaru’s “Approaching From Behind […]” the musician samples himself walking in
a hallway to create an eerie soundscape reminiscent of sounds made in a horror
film. This song off the artist’s 2011 album The
Leaf Traces A Melancholy Path Through The Autumn Sky implements this sample
directly into the piece. (Samples often prelude musical pieces instead of being
a part. For example, listen to Wu Tang Clan’s “Bring Da Ruckus.”) When
recording samples, the notion of who made the piece becomes important; Zeldaru
recorded the sample, which implies creation as well. The creation of sounds is
emphasized over simple recording in the generalized perception. Though the
piece is effectively a soundscape for the first two minutes, the use of more
traditional instrumentation allows the piece to still be accepted by less “avant-garde”
listeners. Musique concrete does not constitute music to many listeners, hence
why they may require assistance in the form of instruments. Ultimately sampling
provides a means of enhancing music-making, rather than making it more
pretentious.
The
sample used in the song consists of a person walking in a hallway in addition
to the white noise that stems from the recording. Many listeners would hesitate
to call this sample on its own music. The piece creates an ominous atmosphere
through percussive footsteps. Lasting about 2 minutes, the footsteps establish
a mood for the piece: a sense of being chased is elicited, a technique used by
the musician to make the instrumental more ominous. Removal of the sample would
change the atmosphere, in addition to breaking up the established musical
framework. The footsteps are vital to the track, even though alone they would
not count as “music” to most listeners. To these people, music consists of
traditional instruments not sounds embedded in a soundscape.
Fortunately for the audience listed above, the
musician incorporates bass, drums, glockenspiel and synthesizer, all of which
are fairly recognizable. The musical space left by the sample is partially
filled up by these instruments. The instruments are quiet and low in pitch,
though, to maintain the desired effect. The timbres are recognizable and
counteract the alien sound of the footsteps as well as the white noise. Bass
contributes a low-pitched timbre while the other instruments contribute middle-
and high-pitched sounds. Additionally the glockenspiel’s high-pitch sound in
particular is comforting and provides a degree of resolution that makes the
piece less scary. Composition of the instruments can be analyzed and at least
recognized whereas the footsteps vary only in distance from the microphone not
pitch. The “progression” is static, which qualifies it as a sound to most
listeners. As a result the instruments are necessary for this piece to be music
at all for many. Zeldaru’s composition is foreboding even with the
implementation of the instruments but many listeners can still call it music.
Over the course of two minutes a framework of soundscape and instrumentation is
created; the music is given a structure that it follows after the sample ends.
A
sample’s context remains vital. “Approaching From Behind […]” features a 2
minute sample followed by 6 minutes without nontraditional instrumentation. The
piece continues and develops without relying on a soundscape. Regardless of how
well the music is received, this piece does not extensively rely on something
simply recorded. Explosions in the Sky’s “Have You Ever Passed Through This
Night?” samples the audio of a movie scene. The band explores a similar
approach in that they play rock instrumentation against the sample. It creates
an atmosphere and a musical framework that can be used to build the song. “Have
You Ever […]” opens up with this cinematic sample and follows with an
additional several minutes of music. On the other hand, Wu Tang Clan’s “Bring
Da Ruckus” opens with a sound clip from a television show before the song
proper begins; the music starts when the percussion and vocals enter, not at
the track’s start. Listeners in general expect a substantial work consisting of
music. Sampling can be “accepted” as long as legitimate music follows suit in
the track. Manic Street Preacher’s The
Holy Bible also features use of sampling in a similar manner to Wu Tang
Clan; vocal clips prelude several tracks, but these songs contain at least a
few minutes of traditional instrumentation.
Musique
concrete poses a challenge to most listeners due to the emphasis on recorded
sounds rather than just traditional instruments. At the same time, recording
sounds is distinguished from performing altogether. This sampling-based
approach must be mixed with traditional instrumentation to become more
acceptable. “Approaching From Behind” incorporates these elements and becomes
less alien as a result.
In
general, musique concrete, specifically soundscapes, allows for the creation of
atmosphere and setting through music. This approach is not heinous or
pretentious and can prove to in fact bolster musical expression. Sampling can
be used to greatly enhance a track’s ability to represent a particular place,
event, or even emotion. Brian Eno’s “Unfamiliar Wind” follows an ambient style
that conjures up the sensation of being near a pond through its use of
sampling; the sound of ducks quacking helps the listener be in a particular
place and in some senses makes the music more real. In this piece sampling and
instruments are mixed together to create that feel, which makes the song
memorable. One truly salient characteristic of this song is the natural sound
that is both calming and interesting. Musique concrete can be used to extend
the appeal of a song and make it more beautiful. Sampling footsteps is very
different yet it follows the same approach: add sounds that make the music
stronger and better fit its intended purpose. Sampling in general can be also
used to accentuate a particular atmosphere. Meaningful sounds can be used in
music; the creation of personally meaningful music is enhanced through this
very approach. Musique concrete is not meant to weird listeners out, thus it
should not be “curbed” in order to appeal. The tendency exists, but sampling is
not detrimental. The mixing of instruments and sampling is done for a purpose,
not to mitigate the added sounds.
Works Cited
1.
Spano, Charles.
“Those Who Tell
the Truth Shall Die, Those Who Tell the Truth Shall Live Forever.” Rovi Corp. Allmusic. n.d. 16 July 2012.
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