The relationship between electro-acoustic music and instrumental/vocal composition in Europe in the period 1948-1970.

The study seeks to establish how theories and concepts derived from electro-acoustic practice can inform musicians about the'nature of instrumental thought. Instrumental/vocal musical languages are particular representations of a wide framework of fundamental musical laws. The most successful expression of these laws is through concepts of electro-acoustic music. As a result many points of contact between hitherto unconnected areas of music are revealed. Three principal'subJect-areas are investigated: 1) The'development of Pierre Schaeffer's musical researches: The researches under consideration are those conducted from 1948 up to-the publication of the revised edition or the “Traite des Objets Musicaux" in 1977. The importance of new musical-concepts and Schaeffer’s Programme de la Recherche Musicale are discussed. There has been no-extensive examination of these in English. Consequently, neither Schaeffer's position, nor French electro-acoustic music's role in the development ofcontemporary music has been efficiently assessed. 2) The Cologne studio's development during the period 1953-70: Particular emphasis is given to a discussion'of the studio's relationship with the evolution of serial thought. This relationship is identified as the main stimulus for many of the studio's musical concepts in addition'to its preoccupation with electronic sound generation. Furthermore, the conflict between Paris and Cologne regarding musical-languages is examined and the theory or eventual convergence of views is contested. 3) The, nature of Schaefferian music theory: The concepts of valeur/caractere, permanence/variation and Schaeffer's concept of the "instrument" are discussed. It is proposed that Schaefferian concepts offer & significant methodology for the study of contemporary music. They assist, therefore our understanding not just of electro-acoustic music but contemporary music in general