Earlier traditional forms and procedures such as the quodlibet, medley, potpourri, and centonization differ from collage in that the various elements in them are made to fit smoothly together, whereas in a collage clashes of key, timbre, texture, meter, tempo, or other discrepancies are important in helping to preserve the individuality of the constituent elements and to convey the impression of a heterogeneous assemblage.
[2] Later, in 1948, Pierre Schaeffer used the techniques of sound collage to create the first piece of musique concrète, Étude aux chemins de fer, which was assembled from recordings of trains.
Cage began in 1939 to create a series of found sounds works that explored his stated aims, the first being Imaginary Landscape #1 for instruments including two variable speed turntables with frequency recordings.
Its primary proponent is composer Horacio Vaggione in works such as Octuor (1982), Thema (1985, Wergo 2026-2), and Schall (1995, Mnémosyne Musique Média LDC 278–1102).
[8] Freak Out!, the 1966 debut album by the Mothers of Invention, made use of avant-garde sound collage, particularly the closing track "The Return of the Son of Monster Magnet".
[10][11] Uncut wrote that Requia by John Fahey made use of meditative guitar soli with tape collage experimentation on "Requiem for Molly".