Musique Concrète (concrete music) is a term coined by the French composer Pierre Schaeffer in the first half of 20th Century, to define a kind of music made with recorded sounds coming from the "real world". These recordings were manipulated in various ways, to create unusual sounds for musical works. Concrete music, at the beginning, was realized with analog equipment (the tape recorder was adopted in the early 1950s) and among the main techniques to produce this music there were: cut and splicing, change of tape speed, tape delay, tape loops etc. In United States this kind of music later was called "tape music". With the evolution of new technologies these techniques are today possible with digital equipments. Sound synthesis languages like Csound achieves the same results that Schaeffer obtained in his studio with the manipulation of analogic tapes. The difference is that Csound works by a digital process. In this way the opportunities of sound manipulation are strongly increased.

     MCCs comes from the idea to facilitate composers which work with informatic technologies. The goal of MCCs is the generation of scores working with recorded sounds. The composer can interacts with a simple interface, assigning the parameters to the composition; he can use some Csound capabilities without knowing it. The program automatically generates the orchestra file and the score file, which later can be processed with Csound. The composer can choose among several options: granular synthesis of the input soundfile, filtering (with a 2nd order passband Butterworth filter), ring modulation, flanger, delay, local reverberation and global reverberation. These sound transformations can be carried out separately or contemporaneously. Moreover, in MCCs there is a number of default options and the possibility to assign aleatoric values to many sound parameters.

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