1009:
973:
985:
997:
1069:
961:
2263:
2251:
325:
100:
201:(1939) was among the earliest compositions to include an innovative use of live electronic material; it featured two variable-speed phonograph turntables and sine-tone recordings. Cage's interest in live electronics continued through the 1940s and 1950s, providing inspiration for the formation of a number of live-electronic groups in America who came to regard themselves as the pioneers of a new art form.
284:, such as: spontaneity, dialogue, discovery and group interaction. Many composers viewed the development of live electronics as a reaction against "the largely technocratic and rationalistic ethos of studio processed tape music" which was devoid of the visual and theatrical component of live performance. By the 1970s, live electronics had become the primary area of innovation in electronic music.
210:
436:
355:. Many sophisticated forms of sound production, manipulation and organization (which had hitherto only been available in studios or academic institutions) became available to use in live performance, largely by younger musicians influenced by and interested in developing experimental popular music forms. A combination of many laptops can be used to form a
380:
37:) is a form of music that can include traditional electronic sound-generating devices, modified electric musical instruments, hacked sound generating technologies, and computers. Initially the practice developed in reaction to sound-based composition for fixed media such as
300:
and his large scale concerts which he performed attracted millions of people, breaking his own record for largest audience four times.) In fact Jarre continued to break his own records up to the end of the century, with 3.5 million people attending 1997's
385:
384:
382:
415:
with improvisation, Typically, the process of writing is made visible by projecting the computer screen in the audience space, with ways of visualising the code an area of active research. There are also approaches to human live coding in improvised
386:
383:
351:. The term gained a certain degree of currency in the 1990s and is of significance due to the use of highly powerful computation being made available to musicians in highly portable form, and therefore in
277:(1960), had mainly employed amplification, Stockhausen's innovation was to add electronic transformation through filtering, which erased the distinction between instrumental and electronic music.
423:
Live coding is also an increasingly popular technique in programming-related lectures and conference presentations, and has been described as a "best practice" for computer science lectures by
243:
in 1951 with limited success. However, it was in Europe at the end of the 1950s and early 1960s that the most coherent transition from studio electronic techniques to live synthesis occurred.
189:
150:
Many early compositions included these electronic instruments, though the instruments were typically used as fill-ins for standard classical instruments. An example includes composer
1321:
381:
178:
compositions (1935–37) because of the instrument's complete 'gliding' freedom of pitch.( The ondes
Martenot was also used as a featured instrument in the 1930s, and composer
147:(1929), may be cited as antecedents, but were intended simply as new means of sound production, and did nothing to change the nature of musical composition or performance.
1213:
1452:
420:. Live coding techniques are also employed outside of performance, such as in producing sound for film or audio/visual work for interactive art installations.
1407:
280:
During the 1960s, a number of composers believed studio-based composition, such as musique concrète, lacked elements that were central to the creation of
1715:
eContact! 10.4 – Temps réel, improvisation et interactivité en électroacoustique / Live-electronics – Improvisation – Interactivity in
Electroacoustics
1670:
eContact! 10.4 – Temps réel, improvisation et interactivité en électroacoustique / Live-electronics – Improvisation – Interactivity in
Electroacoustics
1592:
eContact! 10.4 – Temps réel, improvisation et interactivité en électroacoustique / Live-electronics – Improvisation – Interactivity in
Electroacoustics
1765:
1255:
457:
that was originally referred to as live electronics. It has been part of the sound art world since the 1930s with the early works of John Cage,)
17:
1557:". DNK Amsterdam: Concert Series for New Live Electronic and Acoustic Music in Amsterdam (press release, 27 November; Accessed 2 May 2013).
269:
257:
1963:
1863:
1725:
400:(sometimes referred to as 'on-the-fly programming', 'just in time programming') is a programming practice centred upon the use of
1555:
Jeff Carey / Jozef van Wissem, Tetuzi
Akiyama / Martin Siewert: Three Sets of Strings & Electronics in Different Combinations
335:
Laptronica is a form of live electronic music or computer music in which laptops are used as musical instruments. The term is a
2294:
2319:
2314:
1758:
1688:
1655:
1617:
1601:
Burns, Christopher (2002). "Realizing Lucier and
Stockhausen: Case Studies in the Performance Practice of Electronic Music."
1573:
1398:
1364:
1345:
1246:
1238:
760:
391:
1858:
1853:
1774:
1718:
1703:
1673:
1595:
1159:
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1466:
251:(1959) combined two tape recorders for live manipulation of the sounds of piano and percussion, and beginning in 1964
1524:
1500:
1483:
1443:
2299:
1751:
1647:
1416:
627:(1966–68) for large orchestra with jazz band, two singers, live electronics, hurdy-gurdy, music box, and newsreader
459:
223:), who wrote a number of notable electronic compositions in the 1960s and 1970s in which amplification, filtering,
1608:
Cox, Christoph (2002). "The
Jerrybuilt Future: The Sonic Arts Union, Once Group and MEV’s Live Electronics." In
1205:
Imaginary
Landscape No. 1: for Records of Constant and Variable Frequency, Large Chinese Cymbal and String Piano
1956:
1230:
503:
2118:
1700:
eContact! 11.4 – Toronto
Electroacoustic Symposium 2009 (TES) / Symposium Électroacoustique 2009 de Toronto
1630:
Giomi, Francesco, Damiano Meacci, and Kilian
Schwoon (2003). "Live Electronics in Luciano Berio’s Music."
2309:
2289:
1554:
1533:
1304:
2324:
1322:"What Students Get Wrong When Building Computational Physics Models in Python: Cabellero Thesis Part 2"
1177:
508:
The following is an incomplete list, in chronological order, of early notable electronic compositions:
463:
magazine published articles by a number of leading electronic and avant-garde composers in the 1960s.
2304:
2255:
1981:
1925:
1434:
Schrader, Barry (1991). "Live/Electro-Acoustic Music: A Perspective from History and California," in
557:
197:
1949:
1930:
765:
1409:
Artificial, Natural, Historical in Transdisciplinary Digital Art. Sound, Vision and the New Screen
619:(1965–66) for viola, contact microphones, tape recorder, filters, and potentiometers (4 players);
1152:(list of issues with Notes "from Deep Listening's website"). UbuWeb: Sound (Accessed 2 May 2013).
412:
404:
1665:
1538:
Proceedings of the 2004 International Conference on New Interfaces for Musical Expression (NIME)
184:
2236:
1632:
770:
120:
1735:
Stroppa, Marco (1999). "Live Electronics or … Live Music? Towards a Critique of Interaction."
1587:
239:
had attempted live generation of the final stages of his works at the first public concert of
1899:
552:
467:
252:
50:
587:
224:
219:
214:
1710:
8:
2267:
2219:
2059:
1381:
517:
159:
74:
38:
1284:
1195:
682:
569:
471:
454:
151:
70:
2091:
1995:
1884:
1695:
1684:
1651:
1613:
1569:
1520:
1496:
1479:
1439:
1394:
1360:
1341:
1242:
1234:
703:
302:
293:
62:
1186:
1130:
841:
718:(1969), Morality opera for soloists, 3 mixed choirs, orchestra, and live electronics
2225:
2214:
2187:
2113:
2032:
2015:
1802:
1263:
707:
692:
612:
356:
236:
179:
108:
42:
2128:
2193:
2027:
1972:
1641:
1580:
1461:
728:
443:
124:
112:
66:
1623:
Davies, Hugh (2001). "Gentle Fire: An Early Approach to Live Electronic Music."
1560:
Andraschke, Peter (2001). "Dichtung in Musik: Stockhausen, Trakl, Holliger." In
2044:
1915:
1565:
1540:, pp. 138–143, Michael J. Lyons (ed), Yoichi Nagashima (chair), New York: NIME.
655:
479:
328:
244:
167:
140:
46:
1373:
1267:
494:, have also played a contributing role in bringing attention to the practice.
255:
entered on a period of intensive work with live electronics with three works,
2283:
2123:
2005:
1797:
1508:
738:
630:
534:
408:
401:
319:
228:
163:
1355:
1295:
2066:
2054:
2049:
2022:
2000:
1827:
1627:
11 ("Not Necessarily ‘English Music’: Britain's Second Golden Age"): 53–60.
1516:
1438:, edited by Peter Nelson, Stephen Montague, and Gary Montague,. CRC Press.
672:
640:
594:
424:
128:
104:
1743:
292:
The 1970s and 1980s were notable for contributions by electronic musician
99:
2231:
2081:
2010:
1822:
1372:
McLean, Alex, Dave Griffiths, Nick Collins, and Geraint Wiggins (2010). "
711:
662:
650:
487:
483:
368:
344:
336:
131:(1897) and instruments developed between the two world wars, such as the
78:
1534:"On-the-fly Programming: Using Code as an Expressive Musical Instrument"
115:, and one of the first electronic instruments used for live performance.
2161:
2096:
1920:
1817:
1666:
Reflections on Aspects of Music Interactivity in Performance Situations
1371:
1254:
Collins, Nick, Alex McLean, Julian Rohrhuber, and Adrian Ward (2003), "
1147:
1015:
581:
575:
491:
439:
281:
144:
136:
57:
of various sounds may be transformed extensively using devices such as
324:
297:
174:(in preference to a string quartet) for his two earliest experimental
2209:
2171:
2166:
2156:
2108:
2071:
2039:
1894:
1889:
1643:
A NIME Reader: Fifteen Years of New Interfaces for Musical Expression
1253:
979:
524:
512:
475:
58:
1513:
Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook
2204:
2151:
2146:
2103:
2076:
1832:
1812:
374:
171:
132:
1941:
1478:. New York: Schirmer Books; London: Collier Macmillan Publishers.
1207:. S.l.: Henmar Press; New York: Sole Selling Agents, C. F. Peters.
2086:
352:
1711:
Voice and Live-Electronics using Remotes as Gestural Controllers
1393:, fourth edition. Oxford and New York: Oxford University Press.
853:
1879:
1229:, edited by Nick Collins and Julio d’Escriván, pp. 38–54.
563:
263:
54:
53:
often plays a large role in the performance of this music. The
447:
417:
411:, and is particularly prevalent in computer music, combining
273:. While earlier live-electronic compositions, such as Cage's
435:
407:. Live coding is often used to create sound and image based
209:
1837:
1807:
1160:"Communion by Universal Everything and Field.io: interview"
829:
792:
790:
1612:, edited by Rob Young, pp. 35–44. London: Continuum.
1033:
1739:
18, no. 3 ("Aesthetics of Live Electronic Music"): 41–77.
1640:
Jensenius, Alexander Refsum; Michael Lyons, eds. (2017).
1298:". BBC Radio 6 (Sunday 4 October; accessed 2 March 2018).
877:
807:
805:
787:
107:
console (likely pictured in the late 1890s) is an early
913:
865:
1270:. (Archive from 17 June 2018, accessed 14 April 2020)
802:
217:, at the sound controls for the live-electronic work
1290:". AllAboutJazz.com (21 June) (Accessed 2 May 2013).
1093:
1045:
937:
925:
901:
817:
1588:
Endphase: Origin and Analysis of an Ongoing Project
1519:, 493–499. Westport, Connecticut: Greenwood Press.
1476:
Music of the Twentieth Century: Style and Structure
1057:
949:
1681:Blocks of Consciousness and the Unbroken Continuum
1562:Stimme und Wort in der Musik des 20. Jahrhunderts,
1225:Collins, Nick (2007). "Live Electronic Music." In
1105:
889:
1378:Electronic Visualisation and the Arts London 2010
1021:
623:(1967), for 13 instruments and live electronics;
453:Electroacoustic improvisation (EAI) is a form of
2281:
1610:Undercurrents: The Hidden Wiring of Modern Music
1335:
1302:
1081:
859:
835:
430:
156:First Airphonic Suite for Theremin and Orchestra
1679:Marley, Brian, and Mark Wastell (eds.) (2006).
1586:Bernal, Alberto, and João Miguel Pais (2008). "
1340:. New Haven and London: Yale University Press.
1189:". Famouscomposers.net (accessed 7 March 2019).
94:
1180:". Noise Addicts blog (accessed 2 March 2018).
1957:
1759:
1531:
1356:A Source Guide to the Music of Percy Grainger
991:
1696:A Continuum of Indeterminacy in Laptop Music
1415:. Springer Berlin Heidelberg. Archived from
1311:. Oxford Music Online. Retrieved 2011-09-21.
1016:McLean, Griffiths, Collins, and Wiggins 2010
497:
466:It was further influenced by electronic and
1773:
1303:Gillies, Malcolm, and David Pear. (n.d.). "
1227:The Cambridge Companion to Electronic Music
1193:
919:
77:generation and manipulation of audio using
1964:
1950:
1766:
1752:
1490:
1455:Keith Rowe and Toshimaru Nakamura: Between
980:Collins, McLean, Rohrgruber, and Ward 2003
796:
699:(1969) for 52 strings and live electronics
231:was added to live instrumental performance
1405:
1233:. Cambridge: Cambridge University Press.
1039:
1864:List of electronic dance music festivals
1532:Wang, Ge, and Perry R. Cook (June 2004)
1433:
1359:. White Plains: Pro-Am Music Resources.
1274:
1184:
1175:
1156:
1145:
1099:
1075:
1051:
967:
943:
931:
434:
378:
323:
208:
98:
1388:
1336:Hill, Peter, and Nigel Simeone (2005).
1319:
1296:The First Time with … Jean Michel Jarre
1293:
1224:
1214:Generative Music and Laptop Performance
1211:
1063:
1003:
955:
883:
871:
823:
811:
123:intended for live performance, such as
14:
2282:
1450:
1198:". BBC News (accessed 6 October 2015).
1111:
1945:
1747:
1583:" Livepa.org (accessed 5 March 2015).
1473:
1352:
1127:
1027:
907:
847:
761:New Interfaces for Musical Expression
213:Stockhausen (2 September 1972 at the
1511:(2002). "Karlheinz Stockhausen". In
1507:
1202:
1131:"Tech Know: Programming, Meet Music"
1087:
895:
442:(pictured in 2008) improvising with
188:for six ondes, written for the 1937
1971:
486:. British free improvisation group
24:
1859:List of industrial music festivals
1854:List of electronic music festivals
1546:
756:List of electronic music festivals
25:
2336:
1724:Oxford University Press (2015). "
1256:Live Coding in Laptop Performance
1196:Jarre Breathes Again with Oxygene
2262:
2261:
2250:
2249:
1730:Oxford English Dictionary Online
1149:Source: Music of the Avant-Garde
170:, used ensembles of four or six
1178:Concerts with Record Attendance
490:, particularly their guitarist
547:Purposeful Lady Slow Afternoon
362:
287:
204:
89:
13:
1:
2295:Electroacoustic improvisation
1664:Lindborg, PerMagnus (2008). "
1603:Journal of New Music Research
1495:. London: Sun Tavern Fields.
1451:Siegel, Jeff (22 June 2006).
1391:Electronic and Computer Music
1279:. Aldershot, Hants.: Ashgate.
1231:Cambridge Companions to Music
850:, chapter 4: "Program Notes".
776:
504:Category:Electronic musicians
431:Electroacoustic improvisation
313:
18:Electroacoustic improvisation
2320:20th-century classical music
2315:Contemporary classical music
1194:Cacciottolo, Mario (2008). "
95:Early electronic instruments
7:
1732:(retrieved 30 August 2014).
1568:, 341–355. Vienna: Böhlau.
749:
603:North American Time Capsule
331:2002, performing laptronica
158:, which premièred with the
10:
2341:
1694:Neal, Adam Scott (2009). "
1636:27, no. 2 (Summer): 30–46.
1491:Sutherland, Roger (1994).
1406:Rohrhuber, Julian (2008).
1374:Visualisation of Live Code
1120:
501:
470:and the music of American
390:Live coding example using
372:
366:
317:
190:International World's Fair
84:
2245:
2180:
2139:
1988:
1982:Electronics in rock music
1979:
1908:
1872:
1846:
1790:
1781:
1737:Contemporary Music Review
1605:31, no. 1 (March): 59–68.
1493:New Perspectives in Music
1353:Lewis, Thomas P. (1991).
1268:10.1017/S135577180300030X
1218:Contemporary Music Review
498:Notable works 1930s–1960s
198:Imaginary Landscape No. 1
1474:Simms, Brian R. (1986).
1275:Emmerson, Simon (2007).
781:
766:Operation Re-Information
599:Music for Solo Performer
308:
2300:Electronic music genres
1775:Electronic music events
1389:Manning, Peter (2013).
1367:. Retrieved 2011-09-21.
1313:(subscription required)
1294:Everitt, Matt (2015). "
1285:Extended Analysis: 4g:
1277:Living Electronic Music
446:at a music festival in
413:algorithmic composition
405:interactive programming
154:, who in 1929 composed
2237:Yellow Magic Orchestra
1709:Nowitz, Alex (2008). "
1702:(December). Montréal:
1633:Computer Music Journal
1625:Leonardo Music Journal
1581:What Is a 'Live P.A.'?
1553:Altena, Arie (2006). "
1384:(Accessed 8 May 2014).
1320:Guzdial, Mark (2011).
1212:Collins, Nick (2003) "
1133:. BBC News. 2009-08-28
771:List of music software
558:Mikrophonie I & II
450:
394:
332:
232:
121:electronic instruments
116:
2200:Live electronic music
1900:Second Summer of Love
1784:Live electronic music
1717:(October). Montréal:
1683:. London: Sound 323.
1594:(October). Montréal:
1283:Eyles, John (2006). "
860:Hill and Simeone 2005
553:Karlheinz Stockhausen
468:electroacoustic music
438:
389:
327:
253:Karlheinz Stockhausen
212:
102:
51:Musical improvisation
31:Live electronic music
1672:(October). Montréal:
836:Gillies and Pear n.d
714:, Jan van Vlijmen –
215:Shiraz Arts Festival
185:Fête des belles eaux
81:is now commonplace.
2060:Neue deutsche welle
1262:8, no. 3: 321–330.
1100:Anon. & n.d.(a)
1052:Anon. & n.d.(b)
944:Anon. & n.d.(e)
932:Anon. & n.d.(d)
518:Imaginary Landscape
160:Cleveland Orchestra
69:and other forms of
2310:Experimental music
2290:Free improvisation
1579:Anon. (n.d.(c)). "
1309:Grove Music Online
1203:Cage, John (1960).
1185:Anon. (n.d.(e)). "
1176:Anon. (n.d.(d)). "
1146:Anon. (n.d.(a)). "
992:Wang and Cook 2004
702:Louis Andriessen,
683:Richard Teitelbaum
474:composers such as
455:free improvisation
451:
395:
343:top computer" and
333:
233:
152:Joseph Schillinger
117:
2325:Music performance
2277:
2276:
2092:Post-punk revival
1996:Alternative dance
1939:
1938:
1689:978-0-9551541-0-2
1657:978-3-319-47214-0
1618:978-0-8264-6450-7
1574:978-3-205-99387-2
1399:978-0-19-974639-2
1365:978-0-912483-56-6
1346:978-0-300-10907-8
1247:978-0-521-86861-7
1239:978-0-521-68865-9
1187:Jean Michel Jarre
1157:Anon. (n.d.(b)).
704:Reinbert de Leeuw
561:(1964 and 1965);
387:
303:Oxygene in Moscow
296:. The success of
294:Jean-Michel Jarre
267:(both 1964), and
16:(Redirected from
2332:
2305:Electronic music
2265:
2264:
2256:Electronic music
2253:
2252:
2226:Switched-On Rock
2215:Moog synthesizer
2188:Electro-Theremin
2114:Progressive rock
2033:Industrial metal
2016:Digital hardcore
1966:
1959:
1952:
1943:
1942:
1926:hip hop festival
1803:Acid house party
1768:
1761:
1754:
1745:
1744:
1661:
1541:
1528:
1504:
1487:
1470:
1465:. Archived from
1447:
1436:Live Electronics
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1414:
1402:
1385:
1368:
1349:
1332:
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1220:22, no. 4:67–79.
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929:
923:
920:Cacciottolo 2008
917:
911:
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845:
839:
833:
827:
821:
815:
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800:
794:
743:Transformation I
708:Misha Mengelberg
693:Louis Andriessen
613:Johannes Fritsch
388:
357:laptop orchestra
353:live performance
241:musique concrète
237:Pierre Schaeffer
180:Olivier Messiaen
143:(1928), and the
109:electronic organ
43:electronic music
39:musique concrète
35:live electronics
21:
2340:
2339:
2335:
2334:
2333:
2331:
2330:
2329:
2280:
2279:
2278:
2273:
2241:
2194:Good Vibrations
2176:
2135:
2028:Industrial rock
1984:
1975:
1973:Electronic rock
1970:
1940:
1935:
1931:reggae festival
1904:
1868:
1847:Lists of events
1842:
1791:Types of events
1786:
1777:
1772:
1742:
1658:
1639:
1549:
1547:Further reading
1544:
1462:Stylus Magazine
1425:
1423:
1419:
1412:
1326:
1324:
1312:
1305:Grainger, Percy
1260:Organised Sound
1165:
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818:
810:
803:
797:Sutherland 1994
795:
788:
784:
779:
752:
729:Takehisa Kosugi
721:George Brown –
529:Cartridge Music
506:
500:
444:prepared guitar
433:
379:
377:
371:
365:
322:
316:
311:
290:
275:Cartridge Music
207:
182:used it in the
125:Thaddeus Cahill
113:Thaddeus Cahill
97:
92:
87:
67:ring modulators
33:(also known as
28:
23:
22:
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1469:on 2012-09-19.
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667:Drive-in Music
660:
656:Pendulum Music
648:
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543:Lecture Series
532:
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480:Morton Feldman
432:
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367:Main article:
364:
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329:Farmers Manual
315:
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289:
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270:Mikrophonie II
245:Mauricio Kagel
229:spatialization
206:
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168:Percy Grainger
141:ondes Martenot
96:
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47:computer music
26:
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2006:Electronicore
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1525:0-313-29689-8
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1509:Toop, Richard
1506:
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1501:0-9517012-6-6
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1422:on 2011-08-11
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1162:. 24 May 2011
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968:Emmerson 2007
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535:Robert Ashley
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409:digital media
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320:Laptop battle
306:
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258:Mikrophonie I
254:
250:
249:Transición II
246:
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164:Leon Theremin
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40:
36:
32:
19:
2266:
2254:
2224:
2199:
2181:Other topics
2129:Electrogrind
2067:Nintendocore
2055:New romantic
2050:Minimal wave
2023:Indietronica
2001:Electroclash
1885:Sound system
1828:Technoparade
1783:
1736:
1729:
1714:
1699:
1680:
1669:
1642:
1631:
1624:
1609:
1602:
1591:
1561:
1537:
1517:Larry Sitsky
1515:, edited by
1512:
1492:
1475:
1467:the original
1460:
1454:
1435:
1424:. Retrieved
1417:the original
1408:
1390:
1377:
1354:
1337:
1325:. Retrieved
1308:
1286:
1276:
1259:
1226:
1217:
1204:
1164:. Retrieved
1148:
1135:. Retrieved
1107:
1095:
1083:
1071:
1064:Guzdial 2011
1059:
1047:
1035:
1023:
1011:
1004:Collins 2003
999:
987:
975:
963:
956:Everitt 2015
951:
939:
927:
915:
903:
891:
884:Manning 2013
879:
872:Collins 2007
867:
855:
843:
831:
824:Collins 2007
819:
812:Manning 2013
742:
732:
722:
715:
696:
686:
676:
673:Larry Austin
666:
654:
644:
641:Gordon Mumma
634:
624:
621:Modulation 2
620:
616:
606:
602:
598:
595:Alvin Lucier
586:
580:
574:
568:
562:
556:
546:
542:
538:
528:
516:
507:
472:experimental
465:
458:
452:
425:Mark Guzdial
422:
397:
396:
346:
340:
334:
291:
279:
274:
268:
262:
256:
248:
240:
234:
218:
196:
194:
183:
175:
166:as soloist.
155:
149:
129:Telharmonium
118:
105:Telharmonium
34:
30:
29:
2232:Isao Tomita
2220:Programming
2119:Synth-metal
2082:Gothic rock
2011:Electropunk
1823:Squat party
1453:"Review of
1382:PDF version
1112:Siegel 2006
1078:, p. .
1018:, p. .
1006:, p. .
994:, p. .
970:, p. .
712:Peter Schat
663:Max Neuhaus
651:Steve Reich
521:(1939–1952)
484:David Tudor
398:Live coding
369:Live coding
363:Live coding
337:portmanteau
288:1970s–1980s
235:In Europe,
205:1950s–1960s
90:1800s–1940s
79:live coding
27:Music genre
2284:Categories
2268:Rock music
2162:Dance-rock
2097:Dance-punk
1921:demo party
1895:Club drugs
1818:Free party
1564:edited by
1426:2013-05-16
1327:5 February
1166:5 February
1137:2010-03-25
1028:Anon. 2009
908:Simms 1986
886:, 157–158.
848:Lewis 1991
777:References
697:Hoe het is
635:Wave Train
582:Kurzwellen
576:Prozession
502:See also:
492:Keith Rowe
440:Keith Rowe
402:improvised
373:See also:
318:See also:
314:Laptronica
282:live music
225:tape delay
192:in Paris.
176:Free Music
145:Trautonium
137:Spharophon
59:amplifiers
45:and early
2210:Mellotron
2172:Synth-pop
2167:Dark wave
2157:Crunkcore
2109:Post-rock
2072:Post-punk
2040:Krautrock
1989:Subgenres
1890:Freetekno
1088:Cage 1960
896:Toop 2002
677:Accidents
525:John Cage
513:John Cage
476:John Cage
392:Impromptu
172:theremins
75:Real-time
71:circuitry
2205:Joe Meek
2152:Big beat
2147:Art rock
2104:New rave
2077:Coldwave
2045:New wave
1833:Teknival
1813:Algorave
1648:Springer
1338:Messiaen
1042:, 60–70.
874:, 38–39.
862:, 74–75.
750:See also
733:712-9374
645:Hornpipe
625:Akroasis
605:(1967),
601:(1965),
585:(1968);
579:(1967);
573:(1966);
567:(1964);
545:(1965),
541:(1964),
375:Algorave
139:(1924),
135:(1919),
133:Theremin
2087:No wave
1873:Culture
1121:Sources
723:Splurge
687:In Tune
617:Partita
607:Vespers
539:Wolfman
347:tronica
298:Oxygene
195:Cage's
85:History
63:filters
55:timbres
1880:Deejay
1687:
1654:
1616:
1572:
1523:
1499:
1482:
1442:
1397:
1376:". In
1363:
1344:
1307:". In
1245:
1237:
910:, 395.
898:, 495.
814:, 157.
799:, 157.
745:(1969)
735:(1969)
725:(1969)
689:(1968)
679:(1968)
669:(1968)
659:(1968)
647:(1967)
637:(1967)
609:(1968)
591:(1968)
588:Spiral
564:Mixtur
549:(1968)
531:(1960)
460:Source
264:Mixtur
227:, and
220:Mantra
119:Early
1536:. In
1420:(PDF)
1413:(PDF)
1287:Cloud
826:, 39.
782:Notes
448:Tokyo
418:dance
345:"elec
309:1990s
162:with
103:This
1838:Doof
1808:Rave
1726:Disc
1685:ISBN
1652:ISBN
1614:ISBN
1570:ISBN
1521:ISBN
1497:ISBN
1480:ISBN
1440:ISBN
1395:ISBN
1361:ISBN
1342:ISBN
1329:2013
1243:ISBN
1235:ISBN
1168:2013
570:Solo
482:and
339:of "
261:and
1728:".
1719:CEC
1713:."
1704:CEC
1698:."
1674:CEC
1668:."
1596:CEC
1590:."
1264:doi
1258:",
1216:",
982:, .
488:AMM
341:lap
247:'s
127:'s
111:by
2286::
1650:.
1646:.
1459:.
1241:;
804:^
789:^
741:–
731:–
710:,
706:,
695:,
685:–
675:–
665:–
653:–
643:–
633:–
615:–
597:–
555:–
537:–
527:–
515:–
478:,
427:.
359:.
305:.
73:.
65:,
61:,
49:.
41:,
2196:"
2192:"
1965:e
1958:t
1951:v
1767:e
1760:t
1753:v
1721:.
1706:.
1691:.
1676:.
1660:.
1620:.
1598:.
1576:.
1527:.
1503:.
1486:.
1457:"
1446:.
1429:.
1401:.
1348:.
1331:.
1315:.
1266::
1249:.
1170:.
1140:.
1114:.
1102:.
1090:.
1066:.
1054:.
1030:.
958:.
946:.
934:.
922:.
838:.
349:"
20:)
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