Avant-garde/Experimental/Drone/Non-Music... The weirdest you've got

https://imgur.com/a/hWPYu4j

https://emojipedia-us.s3.dualstack.us-west-1.amazonaws.com/thumbs/160/emoji-one/104/thumbs-up-sign_1f44d.png

I'm so good at this internet stuff. Can you get to the pic?

Followed the link, cool blurb daddio

question: what is the difference between musique concréte and acousmatic music?

I don't know what acousmatic music is tbh.

As for musique concréte, I did start reading Pierre Schaeffer's "In Search of a Concrete Music" this year but gave up when he started straying into gobbledygook territory.

title track here
https://cful.bandcamp.com/album/dire-wolves-paradisiacal-mind

and
this which has more tracks on the cdr version
https://cardinalfuzz.bigcartel.com/product/the-shooting-guns-nosferatu-live-score-cardinal-fuzz-sam-giles-gatefold-cdr-edition

>musique concréte and acousmatic

both terms are French and come from Studio GRM, coined in different decades by different directors. concréte was Schaeffer's hardline manifesto focused specifically on manipulated recordings, and in some ways took an oppositional stance to WDR's emphasis on synthesized purely electronic music and the control and 'authorship' entailed therein (i.e. no self-respecting composer should allow appropriated pre-authored sounds and call that a composition). by the 60's most composers were helping themselves equally to the techniques of both schools, so under Ferrari & then Bayle's stewardship of the GRM 'acousmatic' was a way of underlining the core concepts of concréte & reduced listening - the aesthetic appreciation of fixed recorded sounds entirely apart from the events that produced them - while letting composers also help themselves to oscillators alongside their squeaky door cut-up. think Parmegiani, as happy close-micing a fireplace as he is playing Coupigny synth. late 60's also saw Bayle introduce the Acousmonium, i.e. concerts of tape works, diffused using dozens to hundreds of speakers placed throughout the room; live performance is in the mixing, the spatial movement of the sounds through the room, rather than in 'live' sound generation.

'acousmatic' is maybe a slightly tweaky rebranding that never caught on as deeply as the original manifesto but it's a way of emphasizing the continuities in the work that follows on from Schaeffer

thank you, the way you put that makes a lot of sense!

https://www.youtube.com/watch?v=ipUoRpVK32s&t=177s

this is not a bad explanation either

I get Nyman's definition.

I've always taken-away from "experimental" the meaning that "some of this performance will consist of very deliberate fucking around with unpredictable results"-- not the same as improvisation, but rather the opposite-- the composer/performer will engage in a process that allows for an unpredictable outcome, a controlled loss-of-control.

As for "avant-garde" I just relate it to the traditional pre-20th c. version of what I think it means. The composition will deliberately subvert the notion of composition in order to make an oblique statement and/or commentary on the nature of composition itself (and society etc.)

Improvised - musicians have meticulously trained themselves to be able to make shit up on the spot and make it great and do so in controlled environments with well-tuned instruments.

Experimental - bored of improvising, musicians will subvert their training by performing improvised music while running through an area deemed unsafe, due to radioactivity

Avant-Garde - I carry the corpse of the now-deceased musician to the concert hall and dump it on the stage while whistling "Figaro" and take a bow to wild applause

My understanding mirrors fgti's. 'Experimental' loosely implies the scientific method, whereas 'avant-garde' is a bellicose, combative stance, whether aesthetic or political (oftentimes both).