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In music, montage (literally "putting together") or sound collage ("gluing together") is a technique where newly branded sound objects or compositions, including songs, are created from collage, also known as montage. This is often done through the use of sampling, while some playable sound collages were produced by gluing together sectors of different vinyl records. In any case, it may be achieved through the use of previous sound recordings or musical scores.〔John Bush, "(Christian Marclay )", Allmusic. Accessed 04:48, 3 January 2008 (UTC).〕 Like its visual cousin, the collage work may have a completely different effect than that of the component parts, even if the original parts are completely recognizable or from only one source. ==History== The origin of sound collage can be traced back to the works of Biber's programmatic sonata ''Battalia'' (1673) and Mozart's ''Don Giovanni'' (1789), and some critics have described certain passages in Mahler symphonies as collage, but the first fully developed collages occur in a few works by Charles Ives, whose piece ''Central Park in the Dark'', composed in 1906, creates the feeling of a walk in the city by layering several distinct melodies and quotations on top of each other. Thus, the use of collage in music actually predates its use in painting by artists like Picasso and Braque, who are generally credited with creating the first collage paintings around 1912. Earlier traditional forms and procedures such as the quodlibet, medley, potpourri, and centonization differ from collage in that the various elements in them are made to fit smoothly together, whereas in a collage clashes of key, timbre, texture, meter, tempo, or other discrepancies are important in helping to preserve the individuality of the constituent elements and to convey the impression of a heterogeneous assemblage.〔J. Peter Burkholder, "Collage", ''The New Grove Dictionary of Music and Musicians'', second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001).〕 What made their technique true collage, however, was the juxtaposition of quotations and unrelated melodies, either by layering them or by moving between them in quick succession, as in a film montage sequence. The first documented instance of sound collage created by electronic means is the piece "Wochenende" (in English, "Weekend"), a collage of words, music and sounds created by film-maker and media artist Walter Ruttmann in 1928.〔Richard James, "Avant-Garde Sound-on-Film Techniques and Their Relationship to Electro-Acoustic Music", ''The Musical Quarterly'' 72, no.1 (January 1986): 78.〕 Later, in 1948, Pierre Schaeffer used the techniques of sound collage to create the first piece of musique concrète, "Étude aux chemins de fer", which was assembled from recordings of trains. Schaeffer created this piece by recording sounds of trains onto several vinyl records, some of which had lock grooves allowing them to play in a continuous loop. He then set up multiple turntables in his studio, allowing him to trigger and mix together the various train sounds as needed.〔Horace Kemwer, "(Case Study: Pierre Schaeffer )", ''(Against the Modern World )''. Retrieved on 2009-12-29.〕 Today audio collage may be thought of as Fluxus postmodern and a form of digital art. An example is George Rochberg, an artist well known for his use of collage in pieces including ''Contra Mortem et Tempus'' and ''Symphony No. 3''.〔Stephen Jaffe." Conversation between SJ and JS on the New Tonality", ''Contemporary Music Review'' 6 , no. 2 (1992): 27–38.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Sound collage」の詳細全文を読む スポンサード リンク
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