{"id":5907,"date":"2025-07-16T01:30:24","date_gmt":"2025-07-15T23:30:24","guid":{"rendered":"https:\/\/pigyki.fr\/?p=5907"},"modified":"2025-07-17T18:55:15","modified_gmt":"2025-07-17T16:55:15","slug":"poslusanje-glasbe-st-66-pierre-schaeffer","status":"publish","type":"post","link":"https:\/\/pigyki.fr\/index.php\/sl\/2025\/07\/16\/poslusanje-glasbe-st-66-pierre-schaeffer\/","title":{"rendered":"Poslu\u0161anje glasbe \u0161t. 66  Pierre Schaeffer"},"content":{"rendered":"\n<h1 class=\"wp-block-heading\">Pierre Schaeffer (1910-1995): o\u010de konkretne glasbe.<\/h1>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\">\u201cPoslu\u0161ati pomeni biti pozoren na vse, kar zveni.\u201d<br><strong>Pierre Schaeffer<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">S <strong><em><a href=\"https:\/\/sl.wikipedia.org\/wiki\/Pierre_Schaeffer\" target=\"_blank\" rel=\"noreferrer noopener\">Pierreom Schaefferjem<\/a><\/em><\/strong> postanejo mimo voze\u010di vlak, \u0161elestenje papirja in zvok vetra zvo\u010dna snov, povabilo k druga\u010dnemu poslu\u0161anju.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p class=\"wp-block-paragraph\">Najprej moram razjasniti zmedo, ki sem ji tudi sam podlegel: konkretna glasba ni izvedena v \u017eivo z vsakodnevnimi predmeti ali orodji, ki so preusmerjeni iz svoje obi\u010dajne uporabe za ustvarjanje glasbenega diskurza.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ti predmeti so posneti, nato obdelani in razstavljeni v laboratoriju, da tvorijo banko \u201czvo\u010dnih predmetov\u201d, ki se nato uporabljajo v glasbenih kompozicijah. Ta prva raziskovanja so izhajala iz \u201ckonkretnih\u201d zvo\u010dnih teles, bogatih z vibracijami akusti\u010dnega izvora. \u0160ele nekaj let kasneje so se dodali zvoki elektroakusti\u010dnega izvora.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Najbolj\u0161a uvod v Schaefferjevo delo je morda odlomek iz intervjuja o \u201cVariacijah na mehi\u0161ko pi\u0161\u010dal\u201d:<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Explications-sur-flute-mexicaine-entretien.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p class=\"wp-block-paragraph\">Zdaj pa nekaj vidikov njegovih dose\u017ekov:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Uvod v konkretno glasbo: \u017delezni\u0161ka \u0161tudija &#8211; Ptica RAI &#8211; Variacijah na mehi\u0161ko pi\u0161\u010dal. (1948-49)<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Schaeffer-Introduction-Musique-Concrete-1.mp3\"><\/audio><\/figure>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Orfej, v sodelovanju s Pierreom Henryjem&nbsp;(1953)<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Pierre-Schaeffer-Pierre-Henry-Orphee-53-1953.mp3\"><\/audio><\/figure>\n\n\n\n<ul class=\"wp-block-list\">\n<li>\u0160tudija predmeta (1959)<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Pierre-Schaeffer-Etude-aux-objets-Part-1-5-1959.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p class=\"wp-block-paragraph\">Pierre Schaeffer, klju\u010dna osebnost glasbenega ustvarjanja 20. stoletja, se na koncu ni imel za skladatelja, temve\u010d za raziskovalca. Hitro je opustil izraz \u201ckonkretna glasba\u201d v prid \u201ceksperimentalni glasbi\u201d. Zelo se je zavedal, da bodo njegove raziskave prispevale k pojavu druge vrste glasbe, hkrati pa tudi k druga\u010dnemu pogledu na zvoke in \u0161ume.<\/p>\n\n\n\n<div class=\"wp-block-media-text is-stacked-on-mobile is-image-fill-element\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"790\" height=\"469\" src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/image.png\" alt=\"\" class=\"wp-image-5662 size-full\" style=\"object-position:56% 50%\" srcset=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/image.png 790w, https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/image-300x178.png 300w, https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/image-768x456.png 768w, https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/image-281x167.png 281w\" sizes=\"auto, (max-width: 790px) 100vw, 790px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p class=\"wp-block-paragraph\">Pierre Schaeffer (1910-1995) je bil francoski in\u017eenir, raziskovalec, teoretik, skladatelj in pisatelj. Bil je tudi radijski \u010dlovek, ustanovitelj in direktor \u0161tevilnih slu\u017eb.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ve\u010d informacij o naslovih, ki jim sledi *, najdete na spletni strani\u00a0<strong><em><a href=\"#savoir+\">\u00ab\u00a0\u010ce \u017eelite izvedeti ve\u010d &#8230;\u00a0\u00bb<\/a><\/em><\/strong>.<\/p>\n<\/div><\/div>\n\n\n\n<h2 class=\"wp-block-heading\">Kaj je konkretna glasba?<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Konkretna glasba je odlo\u010dno akusti\u010dna in i\u0161\u010de svoj material v zvo\u010dnih telesih, katerih zvok je zajet z mikrofonom in obi\u010dajno obdelan po snemanju: bodisi mehansko (z monta\u017eo ali spremembo hitrosti predvajanja) bodisi elektri\u010dno (s filtriranjem frekven\u010dnega spektra in oja\u010ditvijo).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Konkretna glasba ni elektronska glasba, saj so zvoki v elektronski glasbi umetno proizvedeni in ne obstajajo v naravi. Vendar pa se je v 20. stoletju med tema dvema tokovoma razvila zelo mo\u010dna povezava, saj so glasbena dela hkrati uporabljala tehnike, zna\u010dilne za oba \u017eanra. To je <strong>akuzmati\u010dna<\/strong> glasba.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Zakaj je Pierre Schaeffer rekel, da \u201ckonkretna glasba ni glasba\u201d?<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Pierre Schaeffer je izumil konkretno glasbo ne kot slog, temve\u010d kot eksperiment poslu\u0161anja.<br>Hotel je vpra\u0161ati: <strong>\u201cKaj je glasba, \u010de ne delamo ve\u010d z zapisanimi notami, temve\u010d z posnetimi zvoki?\u201d<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Po svojih prvih delih je ugotovil:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Da so \u0161tevilna konkretna dela ostala kola\u017ei zvokov brez jasnega glasbenega jezika.<\/li>\n\n\n\n<li>Da je v\u010dasih manjkala \u010dustvena in poeti\u010dna struktura, ki bi povezovala zvoke.<\/li>\n\n\n\n<li>Da je bilo to raziskovanje fascinantno, vendar ni vedno proizvedlo tega, kar je sam \u0161tel za \u201cglasbo\u201d.<\/li>\n<\/ul>\n\n\n\n<blockquote class=\"wp-block-quote has-text-align-center is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cKar sem naredil, ni bila glasba, temve\u010d raziskava,<br>ki je postavljala vpra\u0161anje glasbe.\u201d<br>Pierre Schaeffer<\/p>\n<\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\">Zato se je raje posvetil razmi\u0161ljanju in pou\u010devanju poslu\u0161anja ter prepustil drugim skladateljem, da konkretno glasbo nadaljujejo v razli\u010dnih umetni\u0161kih smereh, med njimi tudi enemu izmed njegovih prvih sodelavcev: Pierreu Henryju.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p class=\"wp-block-paragraph\">Katalog Schaefferjevih skladb je precej majhen in z dana\u0161nje perspektive njegova dela morda niso namenjena poslu\u0161anju kot glasbena dela. Kljub temu ostajajo zelo zanimiva za spoznavanje, zato vam jih tukaj predstavljam!<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong><em><a href=\"#podcast\">Podkast *<\/a><\/em><\/strong><br><strong><em>Toplo priporo\u010dam branje zanimivih besedil v tem podkastu, ki so prevedena v angle\u0161\u010dino in so na voljo v obliki <a href=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/SL-Podcast-Pierre-Schaeffer-Traduction-slovene.pdf\">povezave PDF.<\/a><\/em><\/strong><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading\"><a href=\"#\u00e9l\u00e9ments\"><em>\u0160tudije hrupa  (1948) *<\/em><\/a><\/h4>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/www.youtube.com\/watch?v=CTf0yE15zzI&amp;list=PLS9xQO89CuRAb6n0oN2ONlZgK8UByzf3B&amp;index=1\">00:00<\/a> \u0160tudija \u017eeleznice &#8211; vlaki <a href=\"https:\/\/www.youtube.com\/watch?v=CTf0yE15zzI&amp;list=PLS9xQO89CuRAb6n0oN2ONlZgK8UByzf3B&amp;index=1&amp;t=173s\">02:53<\/a> \u0160tudija vrtljivih vrat &#8211; pokrovi igra\u010d in tolkala <a href=\"https:\/\/www.youtube.com\/watch?v=CTf0yE15zzI&amp;list=PLS9xQO89CuRAb6n0oN2ONlZgK8UByzf3B&amp;index=1&amp;t=292s\">04:52<\/a> \u0160tudija vijolice &#8211; klavir, ki ga je za Schaefferja posnel Boulez <a href=\"https:\/\/www.youtube.com\/watch?v=CTf0yE15zzI&amp;list=PLS9xQO89CuRAb6n0oN2ONlZgK8UByzf3B&amp;index=1&amp;t=492s\">08:12<\/a> \u0160tudija \u010drne &#8211; klavir, ki ga je za Schaefferja posnel Boulez <a href=\"https:\/\/www.youtube.com\/watch?v=CTf0yE15zzI&amp;list=PLS9xQO89CuRAb6n0oN2ONlZgK8UByzf3B&amp;index=1&amp;t=731s\">12:11<\/a> \u0160tudija patetike &#8211; ponve, bar\u017ee, petje, govor, harmonika, klavir<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Pierre-Schaeffer-Etudes-de-bruits-1948.mp3\"><\/audio><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\"><em>Variacijah na mehi\u0161ko pi\u0161\u010dal (1949)<\/em><\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">Ta skladba se mi zdi najbolj jasna za razumevanje Schaefferjevega dela: na tem posnetku je uporabil le prvih osem tonov flavte. Skozi sito svojega laboratorija je izlu\u0161\u010dil napade, udarno gradivo, igranje s hitrostjo, superimpozicije itd.<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Variations-sur-flute-mexicaine.mp3\"><\/audio><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\"><em>Ptica RAI (1949)<\/em><\/h4>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Loiseau-R-A-I.mp3\"><\/audio><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\"><em>Suita za 14 instrumentov (1949)<\/em><\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p class=\"wp-block-paragraph\">I. Preludij<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Suite-pour-14-instruments-I.-Prelude.mp3\"><\/audio><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">II. Courante-roucante<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Suite-pour-14-instruments-II.-Courante.mp3\"><\/audio><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">III. Rigodon<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Suite-pour-14-instruments-III.-Rigodon.mp3\"><\/audio><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p class=\"wp-block-paragraph\">IV. Vagotte-gavotte<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Suite-pour-14-instruments-IV.-Gavotte.mp3\"><\/audio><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">V. Sphoradie<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Suite-pour-14-instruments-V.-Sphoradie.mp3\"><\/audio><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Nadaljevanje petih gibov<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Suite-pour-14-instruments.mp3\"><\/audio><\/figure>\n<\/div>\n<\/div>\n\n\n\n<h4 class=\"wp-block-heading\"><em>Orfej 53 (1953)<\/em><\/h4>\n\n\n\n<p class=\"wp-block-paragraph\"><em><strong>Orfej 53<\/strong><\/em>, v sodelovanju s Pierrom Henryjem \u201eOp\u00e9ra concret\u201c za tri glasove, \u010dembalo, violino in magnetofonski trak, 1953.<br>I. Prolog &#8211; [<a href=\"https:\/\/www.youtube.com\/watch?v=XJq3jItducg&amp;t=75s\">01:15<\/a>] II. Prva arija Orfeje &#8211; [<a href=\"https:\/\/www.youtube.com\/watch?v=XJq3jItducg&amp;t=197s\">03:17<\/a>] III. Prvi recitativ Orfeje &#8211; [<a href=\"https:\/\/www.youtube.com\/watch?v=XJq3jItducg&amp;t=397s\">06:37<\/a>] IV. Monstrumi &#8211; [<a href=\"https:\/\/www.youtube.com\/watch?v=XJq3jItducg&amp;t=600s\">10:00<\/a>] V. Evridikina parada &#8211; [<a href=\"https:\/\/www.youtube.com\/watch?v=XJq3jItducg&amp;t=804s\">13:24<\/a>]  VI. Razprava o Orfeju &#8211;  [<a href=\"https:\/\/www.youtube.com\/watch?v=XJq3jItducg&amp;t=1119s\">18:39<\/a>] VII. Zadnji odmor<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Pierre-Schaeffer-Pierre-Henry-Orphee-53-1953.mp3\"><\/audio><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\"><a href=\"https:\/\/www.youtube.com\/@TheWelleszTheatre\"><\/a><a href=\"#objets\"><em>\u0160tudija predmetov iz dela 1-5 (1959) *<\/em><\/a><\/h4>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/www.youtube.com\/watch?v=UQ7BZlV_0zQ&amp;list=PLS9xQO89CuRAb6n0oN2ONlZgK8UByzf3B&amp;index=2\">0:00<\/a> zpostavljeni predmeti <a href=\"https:\/\/www.youtube.com\/watch?v=UQ7BZlV_0zQ&amp;list=PLS9xQO89CuRAb6n0oN2ONlZgK8UByzf3B&amp;index=2&amp;t=217s\">3:37<\/a> Raz\u0161irjeni predmeti <a href=\"https:\/\/www.youtube.com\/watch?v=UQ7BZlV_0zQ&amp;list=PLS9xQO89CuRAb6n0oN2ONlZgK8UByzf3B&amp;index=2&amp;t=395s\">6:35<\/a> Pomno\u017eeni predmeti <a href=\"https:\/\/www.youtube.com\/watch?v=UQ7BZlV_0zQ&amp;list=PLS9xQO89CuRAb6n0oN2ONlZgK8UByzf3B&amp;index=2&amp;t=580s\">9:40<\/a> Povezani predmeti <a href=\"https:\/\/www.youtube.com\/watch?v=UQ7BZlV_0zQ&amp;list=PLS9xQO89CuRAb6n0oN2ONlZgK8UByzf3B&amp;index=2&amp;t=770s\">12:50<\/a> Zbrani predmeti<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Pierre-Schaeffer-Etude-aux-objets-Part-1-5-1959.mp3\"><\/audio><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">Glasbeni predmet<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Glasbena izku\u0161nja je bila serija \u0161estih radijskih oddaj Tu je radijska sekvenca, ki je obenem radostna z dialogom med Schaefferjem in njegovim sogovornikom in \u2026 neprebavljiva, saj so razlage tako zapletene in \u0161tevilne. Da bi jo v celoti razumel, bi jo moral poslu\u0161ati desetkrat!<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Lobjet-musical.mp3\"><\/audio><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\"><a href=\"#solf\u00e8ge\"><em>Glasbeni posnetek zvo\u010dnega predmeta (1967) *<\/em><\/a><\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">Zvo\u010dni dodatek k Trait\u00e9 des objets musicaux.<br>Prolog: \u0161tirje elementi solfeggia &#8211; Pierre Schaeffer, pripovedovalec.<br>Besedilo v formatu PDF najdete v razdelku \u201ePour en savoir plus \u2026\u201c.<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Schaeffer-Solfege-de-lobjet-sonore-0-Prologue-les-quatres-elements-du-solfege-IX.mp3\"><\/audio><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" id=\"\u00e9l\u00e9ments\"\/>\n\n\n\n<h4 class=\"wp-block-heading\"><em>Primerjalni koti\u010dek za poslu\u0161anje\u2026<\/em><\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h5 class=\"wp-block-heading\"><em>Bidule en ut (1950)<\/em><\/h5>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Bidule-en-ut.mp3\"><\/audio><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h5 class=\"wp-block-heading\"><em>Bilude (1979)<\/em><\/h5>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Bilude-\u2014-Pierre-Schaeffer-Official-Music-Video.mp3\"><\/audio><\/figure>\n<\/div>\n<\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><em>&nbsp;\u00ab\u00a0\u0160tudija o \u017eeleznici\u00a0\u00bb<\/em><\/h5>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p class=\"wp-block-paragraph\">Izvirna razli\u010dica iz leta 1948, avtor Pierre Schaeffer<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/pierre-schaeffer-etude-aux-chemins-de-fer-1.mp3\"><\/audio><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p class=\"wp-block-paragraph\">Verzija, ki sta jo leta 2011 ponovno pripravila Pierre Borel, saksofon, in Hannes Lingens, pol\u017easti boben in predmeti<br><em><a href=\"https:\/\/youtu.be\/AuALNiUspjs?si=tfZrXxEb6M12oWsf\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Videoposnetek izvedbe.<\/strong><\/a><\/em><\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/Pierre-Schaeffer-Etude-aux-chemins-de-fer-1948-version-for-saxophone-and-snare-drum-2011.mp3\"><\/audio><\/figure>\n<\/div>\n<\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h4 class=\"wp-block-heading\" id=\"\u00e9l\u00e9ments\"><em><strong>Za ve\u010d informacij\u2026<\/strong><\/em><\/h4>\n\n\n\n<h5 class=\"wp-block-heading\">Biografski elementi Pierra Schaefferja okoli \u00bbPet \u0161tudij hrupa\u00ab in \u00bb\u0160tudija predmeta\u00ab<\/h5>\n\n\n\n<p class=\"wp-block-paragraph\">Poleg svojega inovativnega dela kot skladatelj je bil Schaeffer tudi glasbeni teoretik in uveljavljen pisatelj, kot pri\u010dajo njegova \u0161tevilna dela. Rojen leta 1910 je Schaeffer najprej \u0161tudiral tehni\u010dne in znanstvene smeri ter od leta 1934 delal kot telekomunikacijski in\u017eenir in tonski tehnik, \u0161e preden je sploh razmi\u0161ljal o karieri skladatelja. Njegove poklicne izku\u0161nje, zdru\u017eene z osnovnim znanjem violon\u010dela, so mu omogo\u010dile ustvarjanje prvih del konkretne glasbe, med katerimi je \u201cCinq \u00c9tudes des bruits\u201d iz leta 1948, sledilo pa je vodenje Skupine za raziskave konkretne glasbe (GRMC) od 1951 do 1953, ki se je kasneje preimenovala v Skupino za glasbene raziskave (GRM) in se v sedemdesetih letih zdru\u017eila z Nacionalnim avdiovizualnim in\u0161titutom, da je nastal INA GRM.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Schaeffer je okrepil svoje teoreti\u010dno razmi\u0161ljanje, ki ga je za\u010del \u017ee zelo zgodaj, na ra\u010dun svoje glasbene prakse, predvsem zato, da bi dolo\u010dil svojo predstavo o glasbi: Schaeffer je menil, da se zahodna glasba odreka pomembnemu podro\u010dju, ker se osredoto\u010da na tradicionalne instrumente in s tem na fiksne vi\u0161ine tonov. Njegovo spra\u0161evanje o tradicionalnih instrumentih in poslu\u0161alska izku\u0161nja, povezana z Var\u00e8seom, Cageom in Messiaenom, ponujajo vpogled v njegov poklicni razvoj proti komponiranju in delu na zvokih, ki je privedlo do konkretne glasbe.<\/p>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"objets\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">M\u00f6ller je \u201c\u00c9tude aux objets\u201d opisal kot \u201cglavno Schaefferjevo delo\u201d, ki ga lahko razumemo kot \u201crezultat raziskovanja mo\u017enosti udoma\u010ditve\u201d in predstavlja Schaefferjevo zadnjo veliko kompozicijo, ki ji sam ni pripisoval velikega pomena in je nenehno dvomil v svoje sposobnosti kot glasbenika. Delo predstavlja zaporedje ve\u010d manj\u0161ih \u0161tudij, po katerih je Schaeffer za dolgo obdobje popolnoma opustil komponiranje. Delo zagovarja idejo, da mora predstavljati zaklju\u010dek skladateljeve glasbene vizije in s tem vodi \u201cdo popolne revolucije v poklicu skladatelja\u201d. Da bi to dosegel, so bili uporabljeni le izvirni zvoki, zbrani skozi leta. Ti so bili le urejeni, me\u0161ani in najve\u010dkrat transponirani. Schaeffer svojo kompozicijo dojema kot \u201cpokrajino\u201d, v kateri so \u201cglasbeni objekti [\u2026] razporejeni, da tvorijo osnovni zvo\u010dni material, ki nikoli ne bo izdan\u201d.<\/p>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"solf\u00e8ge\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h4 class=\"wp-block-heading\">Solfeggio zvo\u010dnega objekta<\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">Za potrebe prevodov sem prepisal besedilo, ki ga je Pierre Schaeffer izrekel v posnetku tega prologa.\u010casi se nana\u0161ajo na zvo\u010dne primere. <strong><em><a href=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/SL-Traite-des-objets-musicaux-Traduction-slovene.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">Kliknite na to povezavo.<\/a><\/em><\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Tukaj je tudi film, v katerem skladateljica <strong>Beatriz Ferreyra<\/strong> predstavlja solfeggio zvo\u010dnih objektov Pierra Schaefferja, pri katerem je aktivno sodelovala z <strong>Guyjem Reibelom<\/strong>.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"[P\u00e9dago] PIERRE SCHAEFFER : &#039;LE SOLF\u00c8GE DE L&#039;OBJET SONORE&#039;\" width=\"760\" height=\"570\" src=\"https:\/\/www.youtube.com\/embed\/pwDnpiecev8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" id=\"podcast\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h2 class=\"wp-block-heading\">Podcast o Pierru Schaefferju<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/embed.radiofrance.fr\/francemusique\/diffusion\/2745b095-f0a9-42da-9938-434b02f4ff6d\">https:\/\/embed.radiofrance.fr\/francemusique\/diffusion\/2745b095-f0a9-42da-9938-434b02f4ff6d<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong><em><a href=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2025\/07\/SL-Podcast-Pierre-Schaeffer-Traduction-slovene.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">Celoten podcast preveden v sloven\u0161\u010dino<\/a><\/em><\/strong><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n","protected":false},"excerpt":{"rendered":"<p>S Pierrom Schaefferjem (1910\u20131995), o\u010detom betonske glasbe, postanejo mimoido\u010di vlak, \u0161umenje papirja in zvok vetra zvo\u010dni medij, povabilo k druga\u010dnemu poslu\u0161anju.<\/p>\n","protected":false},"author":1,"featured_media":5663,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"yes","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[252,187],"tags":[],"class_list":["post-5907","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ecoutes-fr-fr-sl","category-non-classe-sl"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.9 - 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