Editing Musique concrète (section)

===Pierre Schaeffer and Studio d'Essai===
{{main|Studio d'Essai}}
[[File:L430xH465 jpg Schaeffer big-2eb70.jpg|thumb|left|[[Pierre Schaeffer]] with the phonogène]]
In 1942, French composer and theoretician [[Pierre Schaeffer]] began his exploration of radiophony when he joined [[Jacques Copeau]] and his pupils in the foundation of the [[Studio d'Essai]] de la [[Radiodiffusion Nationale (France)|Radiodiffusion nationale]]. The studio originally functioned as a center for the [[French Resistance]] on radio, which in August 1944 was responsible for the first broadcasts in liberated Paris. It was here that Schaeffer began to experiment with creative radiophonic techniques using the sound technologies of the time.<ref name="Palombini-1993-p14">{{harvp|Palombini|1993|p=14}}</ref> In 1948 Schaeffer began to keep a set of journals describing his attempt to create a "symphony of noises".{{sfn|Schaeffer|1952a|loc=ch. Journal entry of March 1948}} These journals were published in 1952 as ''A la recherche d'une musique concrète'', and according to Brian Kane, author of ''Sound Unseen: Acousmatic Sound in Theory and Practice'', Schaeffer was driven by: "a compositional desire to construct music from concrete objects – no matter how unsatisfactory the initial results – and a theoretical desire to find a vocabulary, solfège, or method upon which to ground such music.{{sfn|Kane|2014}}

The development of Schaeffer's practice was informed by encounters with voice actors, and microphone usage and radiophonic art played an important part in inspiring and consolidating Schaeffer's conception of sound-based composition.<ref>{{harvp|Dack|1994|pp=3–11}}</ref> Another important influence on Schaeffer's practice was cinema, and the techniques of recording and montage, which were originally associated with cinematographic practice, came to "serve as the substrate of musique concrète". Marc Battier notes that, prior to Schaeffer, [[Jean Epstein]] drew attention to the manner in which sound recording revealed what was hidden in the act of basic acoustic listening. Epstein's reference to this "phenomenon of an epiphanic being", which appears through the transduction of sound, proved influential on Schaeffer's concept of reduced listening. Schaeffer would explicitly cite Jean Epstein with reference to his use of extra-musical sound material. Epstein had already imagined that "through the transposition of natural sounds, it becomes possible to create chords and dissonances, melodies and symphonies of noise, which are a new and specifically cinematographic music".<ref>{{harvp|Battier|2007|p=191}}</ref>