Home It would seem, this direction - a full antipode "concrete". Really, electronic music uses only синтетически the received sounds, "concrete music" - only natural, But is fast enough these two directions have practically merged, since. Natural sounds began to be exposed to processing to degree of their division into separate overtones (sinusoidal tone) from which new timbres - the typical technics of electronic music which, in turn, began to use widely natural sounds were anew created. A vivid example compositions of Karlhajntsa Shtokhauzena (the river 1928) can serve, to Anri Pussera (the river 1929), as Luigi Nono (the river 1924) where it is possible to observe sounds of both classes both mutual penetration приeмов and processings. Certainly, it is possible to result also examples of compositions where both directions are presented in "a pure" kind: for example, Gordon Mumma's electronic products (the river 1935), Milton Babbita (1916, P.Sheffera's "concrete" products and the Item Анри and compositions of one of schools "concrete music", so-called, music of the speech compositions as which example G.Zhillja's composition "Exploratione", representing the work created entirely on a material of a human voice (exclusively speech) can serve. Technically product is executed masterly: breaking speech into separate phonemes, taking only one consonants or vowels, the author has received noise, sounds with определeнной in height (from vowels), building on them interesting enough episodes remembered by the unusual figurativeness.