George Maciunas' ideas about concretism were developed from the Fluxus engagement with alternative musical composition and performance. Many Fluxus events included alternative uses of musical instruments--for example, Nam June Paik's One for Violin Solo (circa 1962) in which he raised a violin and smashed it--demonstrates his concept of concretism. In musical concretism, a material or concrete sound is one which reveals its affinity to the source of the sound. According to Maciunas, hitting a piano with a hammer, rather than playing its keys, reveals a truer experience of the materiality of the piano for it "indicates in a much clearer manner the hardness of hammer, hollowness of piano sound box and resonance of string." [7]