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                <text>&lt;em&gt;Partition virtuelle qui s'intégrait dans les recherches de lutherie expérimentale en 1947.&lt;/em&gt;</text>
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                <text>&lt;em&gt;Texte écrit pour un projet radiophonique non abouti en janvier 1950, et qui a inspiré "&lt;/em&gt;Une maison de sons &lt;em&gt;" [1989] et "&lt;/em&gt;2 coups de sonnette&lt;em&gt; " [2005]&lt;/em&gt;</text>
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                <text>&lt;em&gt;Cinquième texte des "&lt;/em&gt;Préfaces et Manifestes&lt;em&gt;", dédiés à la mémoire de Félix Passeronne, qui a enseigné à Pierre Henry l'art des percussions au Conservatoire national de Paris.&lt;/em&gt;</text>
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                <text>Fonds Pierre Henry, boite rouge PHBR- 00001 - DONAUD 1807_190</text>
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                <text>&lt;em&gt;Pierre Henry a écrit ce manifeste en 1947 qui est paru en octobre 1950 dans Le conservatoire n°13, Bulletin officiel des conservatoires nationaux de musique &amp;amp; d'art dramatique.&lt;/em&gt;</text>
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                <text>&lt;em&gt;Vingt-deuxième texte des "Préfaces et Manifestes", dédiés à la mémoire de Félix Passeronne, qui a enseigné à Pierre Henry l'art des percussions au Conservatoire national de Paris. &lt;/em&gt;</text>
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                <text>Il faut détruire la musique. Elle ne correspond plus à rien pour nous dans la mesure où elle doit être HARMONIE DES SPHÈRES. Dans la mesure où le sacré s’est transporté de l’Absolu jusque dans la vie elle-même, la musique doit se transporter de la sphère de l’art (musicalement parlant) dans le domaine de l’angoisse sacrée.&lt;br /&gt;Si les conventions musicales, l’harmonie, la composition, les règles, les nombres, le côté mathématique et les formes avaient un sens par rapport à un Absolu, aujourd’hui la musique ne peut en avoir que par rapport aux cris, au rire, au sexe, à la mort. Tout ce qui nous met en communication avec le cosmique, c’est-à-dire avec la matière vivante des mondes en feu. Il faut prendre immédiatement une direction qui mène à l’organique pur. A ce point de vue, la musique a été beaucoup moins loin que la poésie ou la peinture. Elle n’a pas encore osé se détruire elle-même pour vivre. Pour vivre plus fort comme le fait tout phénomène vraiment vivant. Cela ne veut pas dire : écarter toute règle, toute rigueur ou toute forme, mais pas d’autres règles que celles visant à l’efficacité. Je crois que l’appareil enregistreur est actuellement le meilleur instrument du compositeur qui veut réellement créer par l’oreille et pour l’oreille. Si nous voulons lutter contre la mécanique, il faut employer des méthodes mécaniques, ainsi la machine se retournera contre elle-même. Un son enregistré est instantanément détruit en tant que machine.&lt;br /&gt;Le Mythe du Moderne n’existe plus. Les bruits seront supprimés. Ils deviendront désincarnés, désignifiés et comme sacralisés.&lt;br /&gt;Alors ce sera peut-être la musique concrète, la musique du VIVANT et du SOLEIL.</text>
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                <text>XXI - La musique concrète et le XXe siècle</text>
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                <text>&lt;em&gt;Vingt et unième texte des &lt;/em&gt;"Préfaces et Manifestes"&lt;em&gt;, dédiés à la mémoire de Félix Passeronne, qui a enseigné à Pierre Henry l'art des percussions au Conservatoire national de Paris.&lt;/em&gt;</text>
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                <text>&lt;em&gt;Manifeste paru dans le programme des concerts donnés dans la salle de l'ancien Conservatoire de Paris, le 23 mai 1952, où l'on pouvait remarquer la présence d'Igor Stravinsky dans le public.&lt;/em&gt;</text>
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                <text>Pierre Henry, Journal de mes sons, suivi de Préfaces et manifestes, Paris, Actes sud, 2004, pages 98-99.</text>
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La musique concrète</text>
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                <text>&lt;em&gt;Communication du Groupe de recherche de Musique concrète&lt;/em&gt;</text>
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                <text>&lt;em&gt;Ce texte est également retranscrit dans &lt;/em&gt;Journal de mes sons, "Préfaces et Manifestes" (XVII, pages 81 à 86)&lt;em&gt; dédiés à la mémoire de Félix Passeronne, qui a enseigné à Pierre Henry l'art des percussions au Conservatoire national de Paris.&lt;/em&gt;</text>
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                <text>Philippe Arthuys et Pierre Henry, Une démarche spirituelle – La musique concrète, L'Age nouveau, Musique et Univers sonore, N° 92, Mai 1955, pages 13-20</text>
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                <text>" Il y a de nombreuses pages dont l'horreur, la splendeur, ou la violence évoquent les plus extraordinaires images du film "2001"... en y ajoutant cet irrésistible pouvoir d'investissement de la sensibilité qui est le propre de la musique. "&lt;br /&gt;&lt;em&gt;Extrait de l'article, Le Figaro&lt;/em&gt;</text>
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                <text>[extrait de presse de Patrice de Nussac sur l'Apocalypse de Jean]</text>
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