Abstract
This article attends to the emergence of musique concrète as a theoretical object in Pierre Schaeffer’s writing between 1941 and 1952, seeing it as the logical endpoint of Schaeffer’s quest for an art proper to the radio. In this strong sense of the word, art is here positioned in opposition to entertainment, and as such Schaeffer seeks to separate the properly radiophonic from the impure, mercenary forms that radio had hitherto adopted. Schaeffer’s account of musique concrète follows this logic, seeking to cast off the vestiges of radio drama that remain audible in such works as Symphonie pour un homme seul. By way of conclusion, I suggest that grasping the entanglement of musique concrète with mass-cultural forms such as radio requires a mode of reading oriented not towards formalism or sonic ontology but towards the figure of the text.
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