Sounds as Music

            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.