This research paper explores the intertwined evolution of Musical Cubism and Musique Concrète, examining their shared methodologies, textual approaches and conceptual underpinnings. Rooted in early 20th-century avant-garde movements, both challenged traditional artistic norms through innovative uses of collage, found materials and interdisciplinary approaches. Drawing on Walter Benjamin’s theories of reproduction and originality, the study examines how both movements challenged traditional artistic boundaries by recontextualising everyday materials, whether through Cubist collage techniques or Schaeffer’s use of found sounds on magnetic tape. Through an ekphrastic lens, it investigates the transformative impact of these practices on sensory engagement, inviting audiences to actively reinterpret visual and auditory stimuli. By highlighting the shared ethos of fragmentation, layering and the blending of high and low cultural elements, this research underscores the enduring influence of avant-garde experimentation on modern artistic practices and audience interaction.
