"Schaeffer's first musique concrete work was an assemblage of sounds of train wheels, engines, and whistles, entitled 'Etude aux Chemins de Fer' (Railroad Study). It was broadcast on RF, and was followed by several more studies that year. Soon, he hired a team of assistants, including Pierre Henry, who became his musical collaborator. Their joint work, 'Symphonie pour un Homme Seul' (Symphony for One Man Alone, 1950) was publicly heard in the first live concert of musique concrete, that year. Maurice Bejart choreographed the work, in 1955.
The following year, Schaeffer established the Groupe de Recherche de Musique Concrete, a studio outfitted with new tape recorders he designed to meet the genre's unusual technical needs. Composers, including Karlheinz Stockhausen, Darius Milhaud, and Pierre Boulez created works in the studio. Schaeffer continued to compose and he began to articulate a theory of sound objects. After Henry's departure, in 1958, Schaeffer established a new studio, Groupe de Recherches Musicales (GRM), with Luc Ferrari, Iannis Xenakis, and others. At Schaeffer's urging, GRM soon became part of the newly formed Institut National Audiovisuel (INA), a section of Office de Radio Television Francaise (ORTF), in which he directed Le Service de la Recherche (The Research Service) from 1960 to 1975.
His musical activities during the years 1960 - 1975 were devoted largely to writing, including the completion of his major work, Traite des Objets Musicaux (1966), in which he defined his concepts of focussed listening and the sound object." (full article on emfmedia )
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Cinq Etudes de Bruit
Symphonie pour un Homme Seul
Echo d'Orphee
