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.

中文翻译：

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广播艺术：具体音乐与大众文化，1941-1952

本文关注具体音乐作为 Pierre Schaeffer 1941 年至 1952 年间写作中的理论对象的出现，将其视为 Schaeffer 追求广播特有的艺术的逻辑终点。在这个词的强烈意义上，艺术在这里与娱乐相对立，因此谢弗试图将适当的广播音乐与广播迄今为止所采用的不纯粹的、唯利是图的形式区分开来。谢弗对具体音乐的描述遵循了这一逻辑，试图摆脱广播剧的痕迹，这些痕迹在诸如为人类交响曲。作为结论，我认为，要把握具体音乐与广播等大众文化形式的纠缠，需要一种不以形式主义或声音本体论为导向，而是以文本形象为导向的阅读模式。