The use of field recordings in avant-garde, musique concrète, experimental, and, more recently, ambient music was evident almost from the birth of recording technology. Most noteworthy for pioneering the conceptual and theoretical framework with art music that most openly embraced the use of raw sound material and field recordings was Pierre Schaeffer, who was developing musique concrète as early as 1940. Further impetus was provided by the World Soundscape Project, initiated by Canadian composer R. Murray Schafer in the 1970s; this work involved studying the acoustic ecology of a particular location by the use of field recordings.