Electronic music - Knowledge

5863:, Stockhausen said about the electronic music experience: '... Many listeners have projected that strange new music which they experienced—especially in the realm of electronic music—into extraterrestrial space. Even though they are not familiar with it through human experience, they identify it with the fantastic dream world. Several have commented that my electronic music sounds "like on a different star", or "like in outer space." Many have said that when hearing this music, they have sensations as if flying at an infinitely high speed, and then again, as if immobile in an immense space. Thus, extreme words are employed to describe such experience, which is not "objectively" communicable in the sense of an object description, but rather which exist in the subjective fantasy and which are projected into the extraterrestrial space'" ( 663: 3876: 1750: 3712: 2793: 5232:"Electronically produced music is part of the mainstream of popular culture. Musical concepts that were once considered radical—the use of environmental sounds, ambient music, turntable music, digital sampling, computer music, the electronic modification of acoustic sounds, and music made from fragments of speech-have now been subsumed by many kinds of popular music. Record store genres including new age, rap, hip-hop, electronica, techno, jazz, and popular song all rely heavily on production values and techniques that originated with classic electronic music" ( 1741: 1534: 1447:(1952), an "exotic composition that took the flute far below its natural range." Both pieces were created at the home of Henry Cowell in Woodstock, New York. After several concerts caused a sensation in New York City, Ussachevsky and Luening were invited onto a live broadcast of NBC's Today Show to do an interview demonstration—the first televised electroacoustic performance. Luening described the event: "I improvised some sequences for the tape recorder. Ussachevsky then and there put them through electronic transformations." 1469: 6937: 3242: 1415:. In an interview, he stated: "I presented a few examples of my discovery in a public concert in New York together with other compositions I had written for conventional instruments." Otto Luening, who had attended this concert, remarked: "The equipment at his disposal consisted of an Ampex tape recorder . . . and a simple box-like device designed by the brilliant young engineer, Peter Mauzey, to create feedback, a form of mechanical reverberation. Other equipment was borrowed or purchased with personal funds." 2002: 2247: 2376:, a new Audium opened, designed floor to ceiling for spatial sound composition and performance. "In contrast, there are composers who manipulated sound space by locating multiple speakers at various locations in a performance space and then switching or panning the sound between the sources. In this approach, the composition of spatial manipulation is dependent on the location of the speakers and usually exploits the acoustical properties of the enclosure. Examples include Varese's 1154: 4315: 2905: 4967: 2754: 1891:, and Toru Takemitsu. The studio's first electronic compositions were completed in 1955, including Mayuzumi's five-minute pieces "Studie I: Music for Sine Wave by Proportion of Prime Number", "Music for Modulated Wave by Proportion of Prime Number" and "Invention for Square Wave and Sawtooth Wave" produced using the studio's various tone-generating capabilities, and Shibata's 20-minute stereo piece "Musique Concrète for Stereophonic Broadcast". 3731:, producers and composers exploring frequently the possibilities of virtually every new model of electronic sound equipment launched by manufacturers. Synth-pop sometimes used synthesizers to replace all other instruments, but it was more common that bands had one or more keyboardists in their line-ups along with guitarists, bassists, and/or drummers. These developments led to the growth of synth-pop, which after it was adopted by the 2556: 4495: 1319:, using two variable-speed turntables, frequency recordings, muted piano, and cymbal, but no electronic means of production. Cage composed five more "Imaginary Landscapes" between 1942 and 1952 (one withdrawn), mostly for percussion ensemble, though No. 4 is for twelve radios and No. 5, written in 1952, uses 42 recordings and is to be realized as a magnetic tape. According to Otto Luening, Cage also performed 11799: 11943: 1008: 639:(Musical Instrument Digital Interface) was developed. In the same decade, with a greater reliance on synthesizers and the adoption of programmable drum machines, electronic popular music came to the fore. During the 1990s, with the proliferation of increasingly affordable music technology, electronic music production became an established part of popular culture. In Berlin starting in 1989, the 4178: 10795: 1682: 4019: 3956: 1806:(Experimental Workshop), founded in 1950, was offered access to emerging audio technology by Sony. The company hired Toru Takemitsu to demonstrate their tape recorders with compositions and performances of electronic tape music. The first electronic tape pieces by the group were "Toraware no Onna" ("Imprisoned Woman") and "Piece B", composed in 1951 by Kuniharu Akiyama. Many of the 5066: 1625: 1027: 1998:. The work was realized at the WDR studio in Cologne. Two musicians performed on the piano, one in the traditional manner, the other playing on the strings, frame, and case. Two other performers used tape to unite the presentation of live sounds with the future of prerecorded materials from later on and its past of recordings made earlier in the performance. 4005:(each time you played this way the machine would get better). We were also now tracking violin, since our brilliant, young flautist had contracted a fatal cancer. Moreover, this version used a new standard called MIDI, and here I was ably assisted by former student Miller Puckette, whose initial concepts for this task he later expanded into a program called 1196:, both for orchestra and tape. Because he had been working at Schaeffer's studio, the tape part for Varèse's work contains much more concrete sounds than electronic. "A group made up of wind instruments, percussion and piano alternate with the mutated sounds of factory noises and ship sirens and motors, coming from two loudspeakers." 754: 7328: 3918:. This group of Dutch composers had fought for the reformation of Amsterdam's feudal music structures; they insisted on Bruno Maderna's appointment as musical director of the Concertgebouw Orchestra and enforced the first public fundings for experimental and improvised electronic music in the Netherlands. From 1981-2008, 6971:). In terms of musicality, as with electronic art music, it is primarily concerned with timbre and takes little regard for pitch and rhythm in a classical sense. ... . In a similar vein to Cage's aleatoric music, the art of Bending is dependent on chance, when a person prepares to bend they have no idea of the outcome" ( 1360:), and lasted three years until 1954. Cage wrote of this collaboration: "In this social darkness, therefore, the work of Earle Brown, Morton Feldman, and Christian Wolff continues to present a brilliant light, for the reason that at the several points of notation, performance, and audition, action is provocative." 5379:"To present the musical soul of the masses, of the great factories, of the railways, of the transatlantic liners, of the battleships, of the automobiles and airplanes. To add to the great central themes of the musical poem the domain of the machine and the victorious kingdom of Electricity." Quoted in 4326:

was the most notable model, used by many groups in the late 1960s and the 1970s, but such systems were expensive and heavy due to the multiple tape mechanisms involved, and the range of the instrument was limited to three octaves at the most. To change sounds a new set of tapes had to be installed in

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in Australia in 1950. There were newspaper reports from America and England (early and recently) that computers may have played music earlier, but thorough research has debunked these stories as there is no evidence to support the newspaper reports (some of which were obviously speculative). Research

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was an Italian pioneer of computer composition and tape music, who first experimented with electronic techniques in the early sixties. Grossi was a cellist and composer, born in Venice in 1917. He founded the S 2F M (Studio de Fonologia Musicale di Firenze) in 1963 to experiment with electronic sound

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For Babbitt, the RCA synthesizer was a dream come true for three reasons. First, the ability to pinpoint and control every musical element precisely. Second, the time needed to realize his elaborate serial structures were brought within practical reach. Third, the question was no longer "What are the

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Modelling the NWDR studio in Cologne, established an NHK electronic music studio in Tokyo in 1954, which became one of the world's leading electronic music facilities.The NHK electronic music studio was equipped with technologies such as tone-generating and audio processing equipment, recording and

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Yes, as in Doctor Bernie Krause, best known today as the dean of the emerging field of soundscape ecology, and one of the chief curators of nature's own music. Few today remember that he also played a seminal role ushering in the synthesizer age. Krause and his music partner, Paul Beaver, turned out

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suggested to Varèse not only "all physical deserts (of sand, sea, snow, of outer space, of empty streets), but also the deserts in the mind of man; not only those stripped aspects of nature that suggest bareness, aloofness, timelessness, but also that remote inner space no telescope can reach, where

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L'ordinateur nous permet de franchir une nouvelle étape quant à la définition et au codage des sons, et permet de créer des partitions qui dépassent en complexité et en précision les possibilités d'antan. La methode de composition que je propose comporte plusieurs phases et nécessite l'emploi d'une

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to change sounds from the natural world, such as the sound of waves on a beach or bird calls. All types of sounds can be used as source material for this music. Electroacoustic performers and composers use microphones, tape recorders, and digital samplers to make live or recorded music. During live

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technology, it is now possible to create high-quality music using little more than a single laptop computer. Such advances have democratized music creation, leading to a massive increase in the amount of home-produced electronic music available to the general public via the internet. Software-based

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The first electronic musical devices were developed at the end of the 19th century. During the 1920s and 1930s, some electronic instruments were introduced and the first compositions featuring them were written. By the 1940s, magnetic audio tape allowed musicians to tape sounds and then modify them

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The singer and poet Gilli Smyth, who has died aged 83, co-founded the band Gong in 1967 with her partner Daevid Allen. Smith's pitch-leaping, free-form, often atonal vocal style, which she described as "musical landscaping", became an integral component of Gong's cosmic sound, and over time proved

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technique, which significantly improved recording fidelity. As early as 1942, test recordings were being made in stereo. Although these developments were initially confined to Germany, recorders and tapes were brought to the United States following the end of World War II. These were the basis for

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is one of the original members of the San Francisco Tape Music Center (along with Morton Subotnick, Ramon Sender, Terry Riley, and Anthony Martin), which was the resource on the U.S. west coast for electronic music during the 1960s. The Center later moved to Mills College, where she was its first

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for flute and computer—the first piece ever composed expressly for such a setup. A major challenge was finding the right software constructs to support highly sensitive and responsive accompaniment. All of this was pre-MIDI, but the results were impressive even though heavy doses of tempo rubato

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placed his home and studio in Woodstock, New York, at our disposal. With the borrowed equipment in the back of Ussachevsky's car, we left Bennington for Woodstock and stayed two weeks. . . . In late September 1952, the travelling laboratory reached Ussachevsky's living room in New York, where we

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Herbert Russcol writes: "Soon he was intrigued with the new sonorities he could achieve by recording musical instruments and then superimposing them on one another." Ussachevsky said later: "I suddenly realized that the tape recorder could be treated as an instrument of sound transformation." On

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Despite the limited electronic equipment available to dub pioneers such as King Tubby and Lee "Scratch" Perry, their experiments in remix culture were musically cutting-edge. King Tubby, for example, was a sound system proprietor and electronics technician, whose small front-room studio in the

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These were fertile years for electronic music—not just for academia, but for independent artists as synthesizer technology became more accessible. By this time, a strong community of composers and musicians working with new sounds and instruments was established and growing. 1960 witnessed the

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Just three months later, in August 1952, Ussachevsky traveled to Bennington, Vermont, at Luening's invitation to present his experiments. There, the two collaborated on various pieces. Luening described the event: "Equipped with earphones and a flute, I began developing my first tape-recorder

685:. These initial inventions were not sold, but were instead used in demonstrations and public performances. The audiences were presented with reproductions of existing music instead of new compositions for the instruments. While some were considered novelties and produced simple tones, the 8526:"Yes, I used until I went with Herbie (Hancock) in 1970. Then I used a 2600 because I couldn't use the Moog on stage. It was too big and cranky; every time we transported it, we would have to pull a module out, and I knew I couldn't do that on the road, so I started using ARP's." 3220: 5031:

instruments and effect units (so-called "plugins") can be incorporated in a computer-based studio using the VST platform. Some of these instruments are more or less exact replicas of existing hardware (such as the Roland D-50, ARP Odyssey, Yamaha DX7, or Korg M1).

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composition. Both of us were fluent improvisors and the medium fired our imaginations." They played some early pieces informally at a party, where "a number of composers almost solemnly congratulated us saying, 'This is it' ('it' meaning the music of the future)."

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ceremony. Using facilities at the Middle East Radio studios El-Dabh processed the recorded material using reverberation, echo, voltage controls and re-recording. What resulted is believed to be the earliest tape music composition. The resulting work was entitled

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appeal of these works created for some years the trend of listing the electronic musical equipment employed in the album sleeves, as a distinctive feature. Electronic music began to enter regularly in radio programming and top-sellers charts, as the French band

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1954 saw the advent of what would now be considered authentic electric plus acoustic compositions—acoustic instrumentation augmented/accompanied by recordings of manipulated or electronically generated sound. Three major works were premiered that year: Varèse's

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began being used around the mid 20th century, and Tomita's albums in mid-1970s being later examples. In 1978, Yellow Magic Orchestra were using computer-based technology in conjunction with a synthesiser to produce popular music, making their early use of the

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in the 1970s, by the start of the 1980s keyboard synthesizers, became lighter and affordable, integrating into a single slim unit all the necessary audio synthesis electronics and the piano-style keyboard itself, in sharp contrast with the bulky machinery and

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The technique for synthesizing electronic music, invented by Music Professor John Chowning, brought in over $ 20 million through an exclusive license to Yamaha Corporation of Japan, which used the technology in its DX-7 synthesizer, enormously popular in the

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MIDI technology allows a single keystroke, control wheel motion, pedal movement, or command from a microcomputer to activate every device in the studio remotely and synchrony, with each device responding according to conditions predetermined by the composer.

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were unsuitable for turntablism, since they had a slow start-up time, and they were prone to wear-and-tear and breakage, as the belt would break from backspin or scratching. The first direct-drive turntable was invented by Shuichi Obata, an engineer at

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In 1980, a group of musicians and music merchants met to standardize an interface that new instruments could use to communicate control instructions with other instruments and computers. This standard was dubbed Musical Instrument Digital Interface

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played standard repertoire and was not used to extend musical thinking or composition practice. CSIRAC was never recorded, but the music played was accurately reconstructed. The oldest known recordings of computer-generated music were played by the

1126:(1950) the first major work of musique concrete. In Paris in 1951, in what was to become an important worldwide trend, RTF established the first studio for the production of electronic music. Also in 1951, Schaeffer and Henry produced an opera, 1422:

Word quickly reached New York City. Oliver Daniel telephoned and invited the pair to "produce a group of short compositions for the October concert sponsored by the American Composers Alliance and Broadcast Music, Inc., under the direction of

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since 1971. Yamaha's engineers began adapting Chowning's algorithm for use in a digital synthesizer, adding improvements such as the "key scaling" method to avoid the introduction of distortion that normally occurred in analog systems during

2364:(1963), conceived of as in time, controlled movement of sound in space. Twelve speakers surrounded the audience, four speakers were mounted on a rotating, mobile-like construction above. In an SFMOMA performance the following year (1964), 1775:

knew of the development of electronic musical instruments. By the late 1940s, Japanese composers began experimenting with electronic music and institutional sponsorship enabled them to experiment with advanced equipment. Their infusion of

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and it was presented in 1944 at an art gallery event in Cairo. While his initial experiments in tape-based composition were not widely known outside of Egypt at the time, El-Dabh is also known for his later work in electronic music at the

2881:). The rhythm patterns could also be cascaded together by pushing multiple rhythm buttons simultaneously, and the possible combination of rhythm patterns were more than a hundred. Ace Tone's Rhythm Ace drum machines found their way into 2703:"—the application of the creative short circuit, a process of chance short-circuiting, creating experimental electronic instruments, exploring sonic elements mainly of timbre and with less regard to pitch or rhythm, and influenced by 4237:, on-board effects, a joystick for data manipulation, and an analogue synthesis-styled layout design. The external Roland PG-1000 (1987–1990) programmer could also be attached to the D-50 for more complex manipulation of its sounds. 3735:

movement, allowed synthesizers to dominate the pop and rock music of the early 1980s until the style began to fall from popularity in the mid-to-end of the decade. Along with the aforementioned successful pioneers, key acts included

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Following the emergence of differences within the GRMC (Groupe de Recherche de Musique Concrète) Pierre Henry, Philippe Arthuys, and several of their colleagues, resigned in April 1958. Schaeffer created a new collective, called

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who embraced electronic elements (such as synthesizers, samplers, drum machines, and computer programs) and influences such as early electronic composition, krautrock, synth-pop, and dance music. Recordings are commonly made on

2424:, forming the foundation of India's first electronic music studio. Here a group of composers Jinraj Joshipura, Gita Sarabhai, SC Sharma, IS Mathur and Atul Desai developed experimental sound compositions between 1969 and 1973. 5236:, p. 1). "By the 1990s, electronic music had penetrated every corner of musical life. It extended from ethereal sound-waves played by esoteric experimenters to the thumping syncopation that accompanies every pop record" ( 2170:, Stockhausen abandoned traditional musical form based on linear development and dramatic climax. This new approach, which he termed 'moment form', resembles the 'cinematic splice' techniques in early twentieth-century film." 3979:

at the time, I extended this concept to real-time score-following with automatic synchronized accompaniment, and over the next two years Larry and I gave numerous demonstrations of the computer as a chamber musician, playing

1564: 1539:, which used theremins, electric harps, electric organs, the first synthesizer in the USSR "Ekvodin", and also created the first Soviet reverb machine. The style in which Meshcherin's ensemble played is known as " 7077:[Kuroda Organ Co., Ltd. (founded in 1955, dissolved in 2007) has been selling and installing its own manufactured Kurodatone ... during about 50 years of history, but the Croda Organ closed business...] 1543:". In 1957, engineer Igor Simonov assembled a working model of a noise recorder (electroeoliphone), with the help of which it was possible to extract various timbres and consonances of a noise nature. In 1958, 1065:

record players were first conducted by Schaeffer. In 1950, the techniques of musique concrete were expanded when magnetic tape machines were used to explore sound manipulation practices such as speed variation

2618:, which is a composing method that uses mathematical probability systems. Different probability algorithms were used to create a piece under a set of parameters. Xenakis used computers to compose pieces like 4759:

The trend has continued to the present day with modern nightclubs worldwide regularly playing electronic dance music (EDM). Today, electronic dance music has radio stations, websites, and publications like

1122:, several turntables, and mixers. The performance did not go well, as creating live montages with turntables had never been done before." Later that same year, Pierre Henry collaborated with Schaeffer on 556:, created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds. Music produced solely from electronic generators was first produced in Germany in 1953 by 4322:

Before computer memory-based samplers, musicians used tape replay keyboards, which store recordings on analog tape. When a key is pressed the tape head contacts the moving tape and plays a sound. The

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experimented with Schaeffer's techniques on tape loops and was among the first to use the recently released Moog synthesizer developed by Robert Moog. With this instrument he composed some works with

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is the modification of battery-powered toys and synthesizers to create new unintended sound effects. It was pioneered by Reed Ghazala in the 1960s and Reed coined the name "circuit bending" in 1992.

2789:, he revealed it as the R-1 Rhythm Ace, a hand-operated percussion device that played electronic drum sounds manually as the user pushed buttons, in a similar fashion to modern electronic drum pads. 805:

criticized the predominant use of electronic instruments for conventional purposes. The instruments offered expansions in pitch resources that were exploited by advocates of microtonal music such as

1529: 5193:"The stuff of electronic music is electrically produced or modified sounds. ... two basic definitions will help put some of the historical discussion in its place: purely electronic music versus 1585:. By the end of the 1960s, musical groups playing light electronic music appeared in the USSR. At the state level, this music began to be used to attract foreign tourists to the country and for 6635:

director, and is now called the Center for Contemporary Music." from CD liner notes, "Accordion & Voice", Pauline Oliveros, Record Label: Important, Catalog number IMPREC140: 793447514024.

5912:"Carolyn Brown was to dance in Cunningham's company, while Brown himself was to participate in Cage's 'Project for Music for Magnetic Tape.'... funded by Paul Williams (dedicatee of the 1953 2360:

Simultaneously in San Francisco, composer Stan Shaff and equipment designer Doug McEachern, presented the first "Audium" concert at San Francisco State College (1962), followed by work at the

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Thursday, 8 May 1952, Ussachevsky presented several demonstrations of tape music/effects that he created at his Composers Forum, in the McMillin Theatre at Columbia University. These included

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was among the first widely available, portable, and relatively affordable synthesizers. It became once the most widely used synthesizer at that time in both popular and electronic art music.

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machine—to record concerts. Vladimir Ussachevsky, who was on the music faculty of Columbia University, was placed in charge of the device, and almost immediately began experimenting with it.

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The collaborations also occurred across oceans and continents. In 1961, Ussachevsky invited Varèse to the Columbia-Princeton Studio (CPEMC). Upon arrival, Varese embarked upon a revision of

3155:" as the song that "ushered in a new era in the use of electronic music in rock and pop music" due to the band's incorporation of tape loops and reversed and speed-manipulated tape sounds. 2384:

installation, currently active in San Francisco." Through weekly programs (over 4,500 in 40 years), Shaff "sculpts" sound, performing now-digitized spatial works live through 176 speakers.

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In 1980, Yamaha eventually released the first FM digital synthesizer, the Yamaha GS-1, but at an expensive price. In 1983, Yamaha introduced the first stand-alone digital synthesizer, the

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in 1953 while working with the Music for Magnetic Tape Project. The group had no permanent facility, and had to rely on borrowed time in commercial sound studios, including the studio of

5219:. The source of the sound can be anything from ambient noise (traffic, people talking) and nature sounds to live musicians playing conventional acoustic or electro-acoustic instruments ( 4441:

MIDI instruments and software made powerful control of sophisticated instruments easily affordable by many studios and individuals. Acoustic sounds became reintegrated into studios via

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The late 1950s, 1960s, and 1970s also saw the development of large mainframe computer synthesis. Starting in 1957, Max Mathews of Bell Labs developed the MUSIC programs, culminating in

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composition. "... Hiller postulated that a computer could be taught the rules of a particular style and then called on to compose accordingly." Later developments included the work of

1305:(1967). Stockhausen stated that his listeners had told him his electronic music gave them an experience of "outer space", sensations of flying, or being in a "fantastic dream world". 7149:

the development in 1959 of an all-transistor Electone electronic organ, first in a successful series of Yamaha electronic instruments. It was a milestone for Japan's music industry.

1833:, who was influenced by a Pierre Schaeffer concert. From 1952, he composed tape music pieces for a comedy film, a radio broadcast, and a radio drama. However, Schaeffer's concept of 4167:, which also used FM synthesis and would become one of the best-selling synthesizers of all time. The DX7 was known for its recognizable bright tonalities that was partly due to an 1976:, recorded at the Philips studio in the Netherlands. The public remained interested in the new sounds being created around the world, as can be deduced by the inclusion of Varèse's 6168: 4786:, as well as their respective subgenres. Moreover, the genre has found commercial and cultural significance in the United States and North America, thanks to the wildly popular 4766:

dedicated solely to the genre. Despite the industry's attempt to create a specific EDM brand, the initialism remains in use as an umbrella term for multiple genres, including

10401: 9375: 6678: 5836:, p. 75): "... at Northwest German Radio in Cologne (1953), where the term 'electronic music' was coined to distinguish their pure experiments from musique concrete..." 1293:

in residence, became a year-round hive of charismatic avant-gardism." on two occasions combining electronically generated sounds with relatively conventional orchestras—in

853: 4287:(e.g., sirens and ocean waves). The samples are loaded or recorded by the user or by a manufacturer. These sounds are then played back using the sampler program itself, a 2468:

and Maston Beard in the 1950s. Mathematician Geoff Hill programmed the CSIRAC to play popular musical melodies from the very early 1950s. In 1951 it publicly played the "

8490:"In 1969, a portable version of the studio Moog called the Minimoog Model D, became the most widely used synthesizer in both popular music and electronic art music" 4060:

at the beginning of the 1970s, pioneered the use of synthesizers in a touring context, where they were subject to stresses the early machines were not designed for.

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began collaborating with Schaeffer, a partnership that would have profound and lasting effects on the direction of electronic music. Another associate of Schaeffer,

6878: 4832:" provided the experimental and trend-setting environment in which electronica acts developed and eventually reached the mainstream, citing American labels such as 1859:

piece "Concerto da Camera", in the organization of electronic sounds in Mayuzumi's "X, Y, Z for Musique Concrète", and later in Shibata's electronic music by 1956.

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Some synth-pop bands created futuristic visual styles of themselves to reinforce the idea of electronic sounds were linked primarily with technology, as Americans

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Two months later, on 28 October, Vladimir Ussachevsky and Otto Luening presented the first Tape Music concert in the United States. The concert included Luening's

12025: 6967:"This element of embracing errors is at the centre of Circuit Bending, it is about creating sounds that are not supposed to happen and not supposed to be heard ( 4299:) to perform or compose music. Because these samples are usually stored in digital memory, the information can be quickly accessed. A single sample may often be 2745:, a live album documenting her first solo performance on a Buchla synthesizer in 40 years. It was one of the first quadraphonic vinyl releases in over 30 years. 2723:'s performance art and musical career explored the concept of 'acceptable' music and she went on to explore the use of sound as a means of desire or discomfort. 2865:), which he released as the FR-1 Rhythm Ace drum machine the same year. It offered 16 preset patterns, and four buttons to manually play each instrument sound ( 3865: 2061: 1521:

was engaged in scientific work on sound synthesis and conducted a number of experiments that would later form the basis of Soviet electro-musical instruments.

8303: 2946:, Japan. It eliminated belts, and instead employed a motor to directly drive a platter on which a vinyl record rests. In 1969, Matsushita released it as the 2177:

had been in use since the 1920s but it attained a degree of popular recognition through its use in science-fiction film soundtrack music in the 1950s (e.g.,

654:. Pop electronic music is most recognizable in its 4/4 form and more connected with the mainstream than preceding forms which were popular in niche markets. 5050:

Following the circuit bending culture, musicians also began to build their own modular synthesizers, causing a renewed interest in the early 1960s designs.

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and Maston Beard. Mathematician Geoff Hill programmed the CSIRAC to play popular musical melodies from the very early 1950s. In 1951 it publicly played the

1262:—the first electronic piece to be published as a score. In 1955, more experimental and electronic studios began to appear. Notable were the creation of the 845:

paralleled that of electro nic instruments. The first means of recording and reproducing audi o was invented in the late 19th century m with the mechanical

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line. Released in November 1984, it was one of the first (if not the first) fully programmable polyphonic synthesizers that was available for under $ 500.

4105:" employed along with the 1960s and 1970s. First, with analog synthesizers, the trend followed with digital synthesizers and samplers as well (see below). 3648: 2166:

for electronic sounds, piano, and percussion. This piece existed in two versions—one for 4-channel tape, and the other for tape with human performers. "In

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was not influential among Japanese composers, who were mainly interested in overcoming the restrictions of human performance. This led to several Japanese

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finding popular appeal. Such tools provide viable and cost-effective alternatives to typical hardware-based production studios, and thanks to advances in

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music critic Alfred Frankenstein commented, "the possibilities of the space-sound continuum have seldom been so extensively explored". In 1967, the first

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On the other hand, a broad group of electronic-based music styles intended for listening rather than strictly for dancing became known under the "

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went on a study tour in the US and Canada. He summarized his conclusions in two articles that he submitted to UNESCO. In 1961, he established the

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to adopt them. They were typically used within orchestras, and most composers wrote parts for the theremin that could otherwise be performed with

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Synthesizer extensively in various compositions. One of the most influential composers associated with the early years of the studio was Egypt's

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electric organ. Korg's Stageman and Mini Pops series were notable for "natural metallic percussion" sounds and incorporating controls for drum "

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in 1953, though it had been in the planning stages as early as 1950 and early compositions were made and broadcast in 1951. The brainchild of

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in aesthetics, sound and lifestyle from that of electronic pop artists by fans of both sides, achieved worldwide success with themes as 1983

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By 1951 the work of Schaeffer, composer-percussionist Pierre Henry, and sound engineer Jacques Poullin had received official recognition and

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in the early 1970s introduced Jamaica's sound system culture and dub music techniques to America. One such technique that became popular in

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patented a fully electronic drum machine. Korg released the Donca-Matic DC-11 electronic drum machine in 1966, which they followed with the

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the sound of several orchestral instruments with reasonable precision. It achieved viable public interest and made commercial progress into

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is credited with originating the theory and practice of musique concrète. In the late 1940s, experiments in sound-based composition using

849:. Record players became a common househokld item, and by the 1920s composers were using them to pl. ay short recordings in performances.. 4744:

Synth-pop continued into the late 1980s, with a format that moved closer to dance music, including the work of acts such as British duos

4654:" in 1982. The TR-808 was a fundamental tool in the later Detroit techno scene of the late 1980s, and was the drum machine of choice for 4196:

in 1983. Its initial list price of $ 795 made it the first fully programmable synthesizer that sold for less than $ 1000. It had 8-voice

3389:' favorite section. The turntable eventually went on to become the most visible electronic musical instrument, and occasionally the most 3144: 2476:

played standard repertoire and was not used to extend musical thinking or composition practice which is current computer-music practice.

8254: 6180: 4368:, and sold mostly to universities, proved to be highly influential among both electronic music composers and music producers, including 2785:

in 1960, developed his own version of electronic percussion that had been already popular on the overseas electronic organ. At the 1964

1138: 1054: 11860: 8150: 3588:, who arose from the punk scene in New York, utilized drum machines and synthesizers in a hybrid between electronics and punk on their 1507: 1380: 2566: 1219:

In Cologne, what would become the most famous electronic music studio in the world, was officially opened at the radio studios of the

14198: 9676: 7712: 7657: 3653: 864:

composed several pieces in 1930 by layering recordings of instruments and vocals at adjusted speeds. Influenced by these techniques,

206: 3584:, a form of basic electronic rock emerged, increasingly using new digital technology to replace other instruments. The American duo 13980: 12010: 10803: 10586:

Wie die elektronische Musik "erfunden" wurde...: Quellenstudie zu Werner Meyer-Epplers musikalischem Entwurf zwischen 1949 und 1953

10410: 9483: 9372: 9153: 6906: 6675: 4346: 3492:) used to be arranged and blended with electronic effects and/or music as well, which became much more prominent in the mid-1980s. 2082: 1554:

Founded by Murzin in 1966, the Moscow Experimental Electronic Music Studio became the base for a new generation of experimenters –

7271: 3031:, the electronic manipulation of spatiality, the sonic electronic manipulation of pre-recorded musical materials from mass media, 1791:

and Minao Shibata independently explored possible uses for electronic technology to produce music. Takemitsu had ideas similar to

1780:

into the emerging genre would eventually support Japan's popularity in the development of music technology several decades later.

643:

became the largest street party with over 1 million visitors, inspiring other such popular celebrations of electronic music.

13052: 10044: 7846: 4638:. The first band to use it was Yellow Magic Orchestra in 1980, and it would later gain widespread popularity with the release of 2457:

about computers playing music, possibly because computers would make noises, but there is no evidence that they actually did it.

332: 8090: 4989:

has advanced, interacting with music production technology is now possible using means that bear no relationship to traditional

3276:

making them part of their sound. Instrumental prog rock was particularly significant in continental Europe, allowing bands like

1134: 11077: 10467: 10206:

Schwingende Elektronen: Eine Dokumentation über das Studio für Elektronische Musik des Westdeutschen Rundfunk in Köln 1951–1986

10013:

Loubet, Emmanuelle (1997), "The Beginnings of Electronic Music in Japan, with a Focus on the NHK Studio: The 1950s and 1960s",

5018:

Beginning around the year 2000, some software-based virtual studio environments emerged, with products such as Propellerhead's

4275:") of real instrument sounds (e.g., a piano, violin or trumpet), excerpts from recorded songs (e.g., a five-second bass guitar 10769: 10624: 7134: 6764: 6746: 12123: 11732: 11655: 11584: 11410: 11386: 11195: 11135: 11109: 10952: 10894: 10714: 10575: 10348: 10330: 9970: 9885: 9877: 9865: 9844: 9601: 9365: 9319: 8971: 8630: 8185: 7929: 7822: 7788: 7466: 7142: 7097: 7017: 5575: 5094: 3559: 3216: 587:

helped popularize synthesized electronic music. The 1970s also saw electronic music begin to have a significant influence on

6510: 1107:, a work for chamber orchestra and tape. The tape parts were created at Pierre Schaeffer's studio and were later revised at 501:). Pure electronic instruments depended entirely on circuitry-based sound generation, for instance using devices such as an 10451: 9683:

Fujii, Koichi (2004), "Chronology of Early Electroacoustic Music in Japan: What Types of Source Materials Are Available?",

8611: 5164: 4372:, an early adopter from the commercial world, due to its versatility, its cutting-edge technology, and distinctive sounds. 11704: 2604:

An important new development was the advent of computers to compose music, as opposed to manipulating or creating sounds.

1810:

tape pieces they produced were used as incidental music for radio, film, and theatre. They also held concerts employing a

1115: 12163: 5114: 3342:

and harmonic sounds. Techniques such as a long echo delay were also used. Other notable artists within the genre include

3171: 911: 211: 6541: 6524: 3017:

with electronic sound technology, in recording studios and at sound system parties. Their experiments included forms of

909:. These techniques were used to compose soundtracks for several films in Germany and Russia, in addition to the popular 14263: 14253: 14243: 9296: 9130:—Best Audio Editing Software of the Year—1st Abelton Live, 4th Reason. Best Audio DJ Software of the Year—Abelton Live. 5126: 3678: 2361: 2090: 454: 17: 8449: 2372:, a "sound-space continuum" opened, holding weekly performances through 1970. In 1975, enabled by seed money from the 662: 14203: 12085: 12065: 11803: 11752: 11624: 11604: 11563: 11543: 11496: 11485: 11467: 11336: 11289: 11271: 11252: 11231: 11185: 11160: 10995: 10973: 10831: 10690: 10640: 10611: 10593: 10554: 10538: 10519: 10496: 10308: 10222: 10155: 10004: 9944: 9905: 9825: 9744: 9533: 9439: 9184: 9003: 8523: 8402: 8045: 7956: 4534: 4064: 3643: 2591: 1722: 1661: 1169: 1093:, four turntables, a four-channel mixer, filters, an echo chamber, and a mobile recording unit. Not long after this, 413: 32: 9795: 8870:"Genres, Subgenres, Sub-Subgenres and More: Musical and Social Difference Within Electronic/Dance Music Communities" 5920:—was a former student of Black Mountain College, which Cage and Cunnigham had first visited in the summer of 1948" ( 513:. Electromechanical instruments can have mechanical parts such as strings, hammers, and electric elements including 13361: 9326:

Bayly, Richard (Fall 1982 – Summer 1983), "Ussachevsky on Varèse: An Interview April 24, 1979 at Goucher College",

8278: 7254: 2500: 1495:. In the 1930s, Nikolai Ananyev invented "sonar", and engineer Alexander Gurov — neoviolena, I. Ilsarov — ilston., 937: 842: 9633: 8313: 3868:(EMS), formerly known as Electroacoustic Music in Sweden, is the Swedish national centre for electronic music and 2194:(established in 1958) came to prominence, thanks in large measure to their work on the BBC science-fiction series 1239:, Meyer-Eppler conceived the idea to synthesize music entirely from electronically produced signals; in this way, 12158: 12075: 11768: 10137: 8869: 8062: 7404: 6757: 5089: 4201: 4118: 3887: 2998: 2373: 2322: 2290:

a research project ('Talmark') aimed at the development of a novel musical notation system for electronic music.

1512: 1089:, and marked the beginning of studio realizations and musique concrète (or acousmatic art). Schaeffer employed a 711:

allowed for by electronic instruments. He predicted the use of machines in future music, writing the influential

403: 13153: 10367: 10249:

Palombini, Carlos (1993). "Machine Songs V: Pierre Schaeffer: From Research into Noises to Experimental Music".

9265: 8421: 6173:[An epoch-defining new musical instrument was developed by a young engineer Mr.Yamashita in Hamamatsu]. 6087: 14258: 14248: 14238: 11995: 11853: 11070: 8939: 4144: 3926:

or The Hands inspired international artists to work at STEIM which entertained a residency program since 1992.

3632: 3613: 2499:" and this is recognised as the earliest recording of a computer to play music. This recording can be heard at 2487:

on the Ferranti Mark I, late in 1951. Later that year, short extracts of three pieces were recorded there by a

1040: 13881: 8497: 7116: 2737:; another live performance was with Kurzweil Baroque Ensemble for "Bach at the Beacon" in 1997. In June 2018, 14166: 13831: 7780: 4886:

The category "indie electronic" (or "indietronica") has been used to refer to a wave of groups with roots in

4134: 3106: 2894: 2770: 2183: 2012: 2005: 1390: 682: 482: 447: 11787: 10606:, in V. Bogdanov, C. Woodstra and S. T. Erlewine, eds (3rd ed.), Milwaukee, Wisconsin: Backbeat Books, 7563: 6128:

Before the Second World War in Japan, several "electrical" instruments seem already to have been developed (

3946:(1981) for 24 musicians and 6 soloists used the 4X to transform and route soloists to a loudspeaker system. 3186:

genres for their work in melding psychedelic rock with oscillators and synthesizers. The 1969 instrumental "

2885:

from the late 1960s, followed by Korg drum machines in the 1970s. Kakehashi later left Ace Tone and founded

14176: 14159: 7628: 6864: 4706: 4260: 3455: 2890: 2734: 2417: 8450:"Variations sur 600 Structures Sonores – Une nouvelle méthode de composition musicale sur l'ordinateur 4X" 6863:. Melbourne School of Engineering, Department of Computer Science and Software Engineering. Archived from 6063:Забытая мелодия. В архивах фирмы грамзаписи обнаружена музыка, приговорённая сорок лет назад к уничтожению 5720:

NB: To the pioneers, an electronic work did not exist until it was "realized" in a real-time performance (

5015:

refers to any live performance of electronic music, whether with laptops, synthesizers, or other devices.

3027:, an emphasis on repetitive rhythmic structures (often stripped of their harmonic elements) comparable to 2897:

becoming highly influential for the next several decades. The company would go on to have a big impact on

11990: 11809: 10186: 8456:(in French). Leonardo/International Society for the Arts, Sciences and Technology (ISAST). Archived from 4598:, also known as rhythm machines, also began being used around the late-1950s, with a later example being 3622: 2102: 11350: 11014: 3508:

also benefit from the electronic sound. During the 1970s and 1980s, Wendy Carlos composed the score for

14268: 9612: 7986: 7514: 7492: 6835: 6061: 6030: 4845: 4615: 4568: 4516: 4505: 4212: 4130: 4122: 3849: 3347: 3002: 1586: 1349: 1315: 787:

From the late 1920s, the increased practicality of electronic instruments influenced composers such as

720: 11829: 10940: 10662: 10507: 9739:, Music in American Life, foreword by Robert Moog., Urbana and Chicago: University of Illinois Press, 9199: 7601: 7319: 4818:" umbrella which was also a music scene in the early 1990s in the United Kingdom. According to a 1997 2334: 2015:, the first programmable synthesizer. Prominent composers such as Vladimir Ussachevsky, Otto Luening, 1013: 14233: 14188: 14149: 12969: 12964: 12735: 12116: 11846: 10947:. Signale aus Köln. Beiträge zur Musik der Zeit (in German). Vol. 22. Vienna: Verlag Der Apfel. 10813: 10633:

The Csound Book: Perspectives in Software Synthesis, Sound Design, Signal Processing, and Programming

9959:

Analog Synthesizers: Understanding, Performing, Buying: From the Legacy of Moog to Software Synthesis

9919: 9383: 9328: 7743: 6160: 6148: 6131: 4896: 4790:/EDM sound that has been incorporated into the U.S. pop music and the rise of large-scale commercial 4589: 4512: 4431: 4338:

Musys system, developed by Peter Grogono (software), David Cockerell (hardware and interfacing), and

4328: 3688: 3510: 3269: 3212: 3136: 3035: 2688: 2666: 2297:(1961)—which he created using the RCA synthesizer at the Columbia-Princeton Electronic Music Center. 2039:

who, after having developed the earliest known electronic tape music in 1944, became more famous for

894: 870: 514: 393: 388: 196: 12188: 8465:

terminologie simple que nous définirons au fur et à mesure : Trames, paves, briques et modules.

7326:(Ace Electronics Industries, Inc.), "Automatic Rhythm Performance Device", issued 1972-03-21 4208: 2282:

in the centre. In the 1990s Tal conducted, together with Dr. Shlomo Markel, in cooperation with the

1313:

In the United States, electronic music was being created as early as 1939, when John Cage published

12060: 11957: 10987: 10926: 6787: 6196: 6152: 4829: 4335: 4035: 3668: 3479: 2813: 2504: 2413: 2395: 2191: 1700: 1232: 826: 14139: 10709:, Harmonologia Series, No. 6 (revised, expanded ed.), Stuyvesant, New York: Pendragon Press, 9481:

Chowning, John (1973), "The Synthesis of Complex Audio Spectra by Means of Frequency Modulation",

3932:

in Paris became a major center for computer music research and realization and development of the

3385:

culture was playing two copies of the same record on two turntables in alternation, extending the

3032: 2380:(tape music performed in the Philips Pavilion of the 1958 World Fair, Brussels) and Stan Schaff's 1325:

at Donaueschingen in 1954, using eight loudspeakers, three years after his alleged collaboration.

14096: 13136: 13057: 12264: 11967: 11962: 11821: 11720: 11303: 11177: 11169: 10094: 9954: 8913: 8372: 7392: 7348: 5989:

onwards, electronic music—in particular synthetic timbre—has impersonated alien worlds in film" (

4799: 4795: 4086: 3550: 3367: 2990: 2977: 2523: 2443: 1978: 1330: 561: 342: 127: 11538:, translated from the Italian with an introduction by Barclay Brown, New York: Pendragon Press, 11066: 9287: 7921: 7915: 7044: 6143:, was developed. It seems to be a multi-timbral keyboard instrument based on electrically blown 6049: 1939: 14278: 13351: 12417: 12143: 11346: 10251: 10049: 10015: 9055: 5277: 4739: 4655: 4560: 4380: 3609: 3187: 2962:, with the SL-1200 remaining the most widely used turntable in DJ culture for several decades. 2926: 2908: 2224: 2205: 2114: 1165: 651: 624: 592: 322: 122: 8992: 8909: 8004: 7979: 7774: 7526: 7385: 7366: 7232: 5565: 3875: 3207:, a bestselling album of Bach compositions arranged for Moog synthesizer by American composer 560:. Electronic music was also created in Japan and the United States beginning in the 1950s and 12579: 12254: 12227: 12000: 11985: 11873: 11434: 10480: 9391: 9240: 8901: 8674: 8264: 7507: 7485: 7454: 7341: 7205: 7179: 6156: 5194: 5131: 4955: 4939: 4915: 4837: 4427: 4234: 4219: 4126: 3976: 3839: 3355: 3039: 2661: 2655: 2507:, Christchurch declicked and restored this recording in 2016 and the results may be heard on 2287: 2271: 2200:. One of the most influential British electronic artists in this period was Workshop staffer 1887:. Musicians associated with the studio included Toshiro Mayuzumi, Minao Shibata, Joji Yuasa, 1848: 1840: 1807: 1704: 1613: 1457: 1368: 1337: 1283: 1279: 1208: 1161: 1119: 979: 933: 557: 546: 502: 498: 497:) in its creation. It includes both music made using electronic and electromechanical means ( 243: 11902: 9993: 9409:, translated by Dr. Th. Baker and originally published in 1911 by G. Schirmer. Reprinted in 8507: 7075:クロダオルガン株式会社(昭和30年創業、2007年に解散)は約50年の歴史のあいだに自社製造のクロダトーン...の販売、設置をおこなってきましたが、クロダオルガン株式会社廃業... 5275:

Neill, Ben (2002). "Pleasure Beats: Rhythm and the Aesthetics of Current Electronic Music".

5180: 4690:' technical limitations; however, the sound has since become sought after in its own right. 1114:

In 1950, Schaeffer gave the first public (non-broadcast) concert of musique concrète at the

13528: 13141: 12109: 10434: 9245: 9023: 7361: 4907: 4820: 4803: 4407: 4157: 4081: 3698: 3589: 3404:(1972), which featured Moog synthesizer renditions of contemporary pop and rock songs, and 3152: 3006: 2930: 2484: 2250:

Israeli composer Josef Tal at the Electronic Music Studio in Jerusalem (c. 1965) with

1665: 1525: 1386: 1185: 13371: 11663: 4682:

The characteristic lo-fi sound of chip music was initially the result of early computer's

2573: 8: 13609: 13486: 13437: 12860: 12540: 12249: 12203: 11421: 10747: 10372:, Knorretje, een Nederlandse Wiki over muziek, geluid, soft- en hardware., archived from 9666: 8944: 8924: 8641: 8067: 5917: 4403: 4152: 4114: 4027: 3673: 3567: 3563: 3438: 3221:

Best Classical Performance – Instrumental Soloist or Soloists (With or Without Orchestra)

2852: 2469: 2387: 2142: 2070: 2043:, a 1959 series of electronic compositions that stood out for its immersion and seamless 1937:

technology was also a major development in this early era. In 1956, Stockhausen composed

1749: 1692: 1644: 1396: 1231:(who became its first director), the studio was soon joined by Karlheinz Stockhausen and 1224: 1108: 667: 628: 39: 12237: 11922: 11422:"Digital Arts and New Media Grad Students Collaborate Musically across Three Time Zones" 11397:

The Ambient Century: From Mahler to Trance: The Evolution of Sound in the Electronic Age

11032:

Snowflakes Are Dancing: Electronic Performances of Debussy's Tone Paintings, Isao Tomita

9024:"Indie Music: The Complete Breakdown Of The Most Diverse and Well-Loved Genres Of Music" 5707:"Musique Concrete was created in Paris in 1948 from edited collages of everyday noise" ( 3890:

in the electronic performing arts, located in Amsterdam, Netherlands. It was founded by

3023: 2321:

The intense activity occurring at CPEMC and elsewhere inspired the establishment of the

1792: 991: 553: 249: 14273: 13695: 13675: 13449: 13274: 13269: 13072: 12828: 12720: 12710: 12591: 12574: 11897: 11838: 11782: 11355: 11325: 11312: 10264: 10119: 10111: 10066: 10032: 9772: 9702: 9576: 9513: 9470: 9422: 9345: 9201:

Slaves to the Rhythm: Kanye West Is the Latest to Pay Tribute to a Classic Drum Machine

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synchronized with a recorded soundtrack. Composers outside of the Jikken Kōbō, such as

1768: 1758: 1590: 1570: 1090: 954:

In 1944, before the use of magnetic tape for compositional purposes, Egyptian composer

788: 647: 201: 11504: 10962:

Bogdanov, Vladimir (2001), Chris Woodstra; Stephen Thomas Erlewine; John Bush (eds.),

10165:

Mattis, Olivia (2001), "Mathews, Max V(ernon)", in Stanley Sadie; John Tyrell (eds.),

10074: 3711: 2792: 1982:, which was played over four hundred loudspeakers at the Philips Pavilion of the 1958 825:

used the theremin to abandon fixed tonation entirely, while Russian composers such as

14144: 13933: 13533: 13511: 13212: 13131: 12803: 12511: 12446: 12370: 12325: 12080: 11748: 11742: 11728: 11651: 11620: 11614: 11600: 11594: 11580: 11572: 11559: 11539: 11492: 11481: 11475: 11463: 11406: 11382: 11332: 11285: 11267: 11248: 11227: 11221: 11181: 11156: 11131: 11105: 10991: 10969: 10963: 10948: 10710: 10686: 10636: 10628: 10607: 10589: 10571: 10550: 10534: 10515: 10492: 10344: 10326: 10304: 10218: 10151: 10123: 10000: 9966: 9940: 9901: 9881: 9873: 9861: 9855: 9840: 9821: 9740: 9734: 9597: 9559: 9529: 9435: 9361: 8999: 8967: 8398: 8259: 8181: 8041: 7952: 7925: 7818: 7784: 7462: 7323: 7138: 7093: 7013: 6989: 5571: 5160: 5019: 4071:

synthesizer, which many composers used to produce notable electronic works—including

3911: 3830: 3800: 3796: 3413: 3331: 3163: 3055: 2950:, the first direct-drive turntable on the market, and the first in their influential 2844: 2778: 2720: 2480: 2065:

in 1961, would be cited as a strong influence by a number of musicians, ranging from

1926: 1815: 1582: 1574: 1424: 1050: 810: 802: 796: 741: 697: 494: 430: 186: 162: 73: 11085: 9784: 9776: 9706: 9654: 9517: 9474: 7318: 5298: 5215:

performances, natural sounds are modified in real-time using electronic effects and

4357: 3767:

Synth-pop was taken up across the world, with international hits for acts including

2122: 1740: 792: 14116: 14004: 13965: 13866: 13850: 13806: 13737: 13555: 13284: 13116: 13035: 12875: 12715: 12683: 12424: 12335: 12330: 12320: 12232: 12178: 12041: 11932: 10724: 10704: 10646: 10388: 10256: 10103: 10058: 10024: 9764: 9694: 9568: 9505: 9462: 9396: 9337: 9218: 8963: 8884: 8645: 8308: 7436: 6839: 6772: 6631: 5286: 5156: 4970: 4935: 4919: 4887: 4677: 4647: 4548: 4442: 4296: 4272: 4246: 4102: 3968: 3936:

computer system, featuring then revolutionary real-time digital signal processing.

3895: 3891: 3768: 3693: 3683: 3576: 3535: 3488: 3257: 3253: 3241: 3203: 3128: 3094: 2982: 2955: 2951: 2947: 2913: 2862: 2758: 2614: 2400: 2391: 2369: 2349: 2330: 2326: 2311: 2201: 2178: 2098: 2028: 2020: 1904: 1888: 1880: 1830: 1803: 1629: 1578: 1452: 1271: 1082: 1058: 1032: 1017: 997: 814: 716: 708: 704: 580: 572: 486: 435: 408: 261: 78: 13876: 11634: 11205: 10902: 10859: 6765:"Algorhythmic Listening 1949–1962 Auditory Practices of Early Mainframe Computing" 4910:(who embraced modern sampling technology), and the genre expanded in the 2000s as 2302:

limits of the human performer?" but rather "What are the limits of human hearing?"

1852: 1164:

worked briefly in Schaeffer's studio in 1952, and afterward for many years at the

1098: 818: 14064: 13244: 13197: 12567: 12562: 12429: 12300: 12193: 11887: 11833: 11816: 11102:

Ambrosia: About a Culture—An Investigation of Electronica Music and Party Culture

10742: 10484: 10277: 9988: 9924: 9755: 9714: 9685: 9453: 9379: 8782: 8684: 7946: 7653: 7239: 7039: 6910: 6879:"First recording of computer-generated music – created by Alan Turing – restored" 6826: 6682: 6075: 6018: 5617: 5039: 4994: 4853: 4779: 4607: 4580: 4556: 4480: 4464: 4448: 4423: 4339: 4292: 4268: 4097: 4053: 3919: 3903: 3788: 3784: 3555: 3496:

achieved a long-lasting success with his 1978 electronic rock musical version of

3461: 3334:

electronic effects. It featured layering techniques and incorporated elements of

3313: 3281: 3175: 3072: 2829: 2821: 2708: 2700: 2421: 2240: 1965: 1657: 1653: 1647:, of which no known recordings exist, only the accurate reconstruction. However, 1555: 1548: 1518: 1480: 1472: 1468: 1427:

at the Museum of Modern Art in New York. After some hesitation, we agreed. . . .

906: 898: 890: 693: 596: 538: 518: 317: 12101: 11128:

Bodily Expression in Electronic Music: Perspectives on Reclaiming Performativity

11030: 10457: 10343:(third ed.), Amsterdam and Boston: Elsevier; Oxford and Burlington: Focal, 9509: 8615: 6796:"MuSA 2017 – Early Computer Music Experiments in Australia, England and the USA" 4902:

The first wave of indie electronic artists began in the 1990s with acts such as

2001: 14121: 14009: 13945: 13811: 13784: 13764: 13665: 13655: 13604: 13454: 13168: 13092: 13047: 12843: 12838: 12808: 12798: 12770: 12545: 12533: 12441: 12382: 12222: 12183: 11892: 11455: 11439: 11200: 10699: 10150:(Revised and expanded ed.), Oxford and New York: Oxford University Press, 9260: 7210: 5290: 5104: 5027: 4986: 4911: 4787: 4753: 4643: 4599: 4585: 4468: 4456: 4068: 4057: 4006: 3915: 3792: 3745: 3728: 3662: 3585: 3467: 3405: 3285: 3273: 3112: 2825: 2774: 2683: 2605: 2531: 2519: 2465: 2433: 2246: 2106: 2044: 2016: 1987: 1949:. An important technological development of that year was the invention of the 1945: 1914: 1900: 1884: 1876: 1788: 1640: 1605: 1357: 1290: 1228: 963: 916: 822: 777: 753: 612: 576: 575:

took place, and Japanese electronic musical instruments began to influence the

568: 534: 256: 191: 142: 13259: 11712: 10429: 9768: 9698: 9466: 9411:

Three Classics in the Aesthetic of Music: Monsieur Croche the Dilettante Hater

8366: 6844: 6821: 6606: 5645: 4375:

The first polyphonic digital sampling synthesizer was the Australian-produced

2857: 2315: 2024: 1933:

program in 1957, one of the first computer programs to play electronic music.

1819: 703:

Critics of musical conventions at the time saw promise in these developments.

14227: 14111: 14059: 13970: 13769: 13722: 13614: 13432: 13427: 13405: 13388: 13318: 13301: 13185: 13062: 12993: 12919: 12902: 12777: 12658: 12653: 12648: 12633: 12485: 12412: 12315: 12285: 12269: 12210: 11942: 11515: 11059: 9306: 8529: 6694: 6506: 6175: 5216: 5109: 4749: 4745: 4694: 4631: 4552: 4402:) and resulted from a collaboration between leading manufacturers, initially 4376: 4350: 4308: 4304: 4288: 4250: 4189: 4171: 4148: 4072: 3937: 3854: 3724: 3531: 3475: 3429: 3425: 3412:(1974). The mid-1970s saw the rise of electronic art music musicians such as 3374: 3327: 3245: 3159: 3084: 3028: 2993:

culture. Dub music was pioneered by studio engineers, such as Sylvan Morris,

2959: 2898: 2882: 2833: 2738: 2353: 2345: 2275: 2251: 2232: 2220: 2074: 2036: 1969: 1954: 1796: 1777: 1772: 1601: 1544: 1540: 1204: 1157:

Karlheinz Stockhausen in the Electronic Music Studio of WDR, Cologne, in 1991

1071: 955: 943: 886: 882: 878: 757: 724: 620: 588: 530: 423: 327: 302: 238: 137: 132: 107: 91: 11381:, White Plains, New York: Pro/AM Music Resources; London: Kahn and Averill, 10965:

The All Music Guide to Electronica: The Definitive Guide to Electronic Music

10945:

Die elektroakustische Musik: Eine kompositorische Revolution und ihre Folgen

10918: 4379:, first available in 1979. These early sampling synthesizers used wavetable 2293:

Milton Babbitt composed his first electronic work using the synthesizer—his

14171: 14081: 14069: 14026: 13913: 13774: 13727: 13702: 13496: 13420: 13311: 13289: 13249: 13234: 13126: 13030: 13008: 12998: 12954: 12949: 12865: 12765: 12745: 12703: 12668: 12596: 12552: 12456: 11907: 11689: 11681: 11298: 11240: 11051: 10683:

Magic Music from the Telharmonium: The Story of the First Music Synthesizer

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Electronic rock was also produced by several Japanese musicians, including

3386: 3378: 3297: 3231: 3208: 2848: 2837: 2817: 2797: 2726: 2696: 2405: 2228: 2066: 1909: 1856: 1835: 1771:

was built in 1935. however, after World War II, Japanese composers such as

1597: 1488: 1484: 1428: 1321: 1181: 1094: 902: 806: 686: 671: 584: 526: 357: 8019: 7431: 7305: 7133:. Encyclopedia of keyboard instruments (2nd ed.). Routledge. p. 3860: 1237:

Elektronische Klangerzeugung: Elektronische Musik und Synthetische Sprache

1153: 14181: 14086: 14031: 14014: 13938: 13923: 13871: 13752: 13747: 13707: 13690: 13685: 13670: 13577: 13471: 13415: 13279: 13264: 13239: 13207: 13003: 12979: 12855: 12850: 12793: 12760: 12750: 12693: 12678: 12673: 12638: 12611: 12523: 12478: 12397: 12375: 12347: 12340: 12290: 12259: 12149: 12035: 11927: 11374: 11041: 10870: 10232: 9818:

Electronic and Experimental Music: Pioneers in Technology and Composition

9801: 8765: 8714: 8282: 7658:"Silver Apples' Simeon Coxe: visionary who saw music's electronic future" 7545:

Dubbing Is A Must: A Beginner's Guide To Jamaica's Most Influential Genre

6994: 6907:"Restoring the first recording of computer music – Sound and vision blog" 6012:«АНС», шумофон и терменвокс: как зарождалась советская электронная музыка 5211: 5004: 4990: 4881: 4841: 4833: 4815: 4771: 4714: 4710: 4659: 4639: 4576: 4460: 4434:

in 1981. Then, in August 1983, the MIDI Specification 1.0 was finalized.

4369: 4314: 4300: 4284: 4226: 3899: 3823: 3812: 3776: 3741: 3638: 3617: 3604: 3421: 3397: 3335: 3319: 3183: 3179: 3140: 3116: 3088: 3047: 2922: 2527: 2496: 2409: 2338: 2236: 2216: 2212: 2138: 2134: 2094: 2078: 1958: 1922: 1823: 1609: 1353: 1345: 1067: 1036: 946:

was unveiled in 1935. Improvements to the technology were made using the

915:

in the United States. Experiments with graphical sound were continued by

830: 765: 728: 689: 640: 600: 522: 510: 490: 478: 418: 398: 337: 266: 147: 112: 61: 10901:, Recording History: The History of Recording Technology, archived from 10848: 10131: 9894:

The New York Schools of Music and Visual Arts: John Cage, Morton Feldman

8994:

All Music Guide to Electronica: The Definitive Guide to Electronic Music

7776:

Musical Aesthetics: An Introduction to Concepts, Theories, and Functions

7629:"The United States of America and the Start of an Electronic Revolution" 2904: 2901:, and do more to shape popular electronic music than any other company. 14154: 14101: 14091: 14054: 14036: 13985: 13950: 13838: 13821: 13759: 13742: 13732: 13660: 13570: 13545: 13476: 13410: 13398: 13254: 13163: 13158: 13077: 13040: 12988: 12885: 12880: 12870: 12813: 12725: 12698: 12663: 12643: 12616: 12586: 12557: 12473: 12468: 12463: 12402: 12352: 12242: 12198: 11917: 10563: 10268: 10115: 10070: 10036: 9614:

Walter Weber's Technical Innovation at the Reichs-Rundfunk-Gesellschaft

9528:, with accompanying CD recording, Australia: Common Ground Publishers, 8832: 8362: 7911: 7409: 5079: 4999: 4947: 4687: 4683: 4564: 4452: 4342:(system design and operation) at their London (Putney) Studio c. 1969. 4254: 4181: 4164: 4045: 3972: 3959: 3933: 3872:. The research organisation started in 1964 and is based in Stockholm. 3761: 3627: 3505: 3493: 3309: 3289: 3265: 3261: 3195: 3127:, to supplement and define their sound. The first bands to utilize the 3102: 3080: 3018: 2994: 2508: 2196: 2150: 2048: 1943:, the first major work of the Cologne studio, based on a text from the 1872: 1811: 1016:(1953), a tape machine for modifying the sound structure, developed by 861: 856:

in 1925 was followed by increased experimentation with record players.

781: 632: 549: 545:

by changing the tape speed or direction, leading to the development of

13523: 11316: 9580: 9349: 7948:

The Techno Primer: The Essential Reference for Loop-based Music Styles

6031:Журнал «Техника — молодёжи», № 3 за 1960 год. Автор: Б.Орлов 4966: 3449: 2753: 2204:, who is now famous for her 1963 electronic realisation of the iconic 1103: 646:

Contemporary electronic music includes many varieties and ranges from

13955: 13918: 13816: 13791: 13680: 13635: 13619: 13565: 13491: 13481: 13459: 13381: 13366: 13346: 13306: 13296: 13222: 13202: 13148: 13109: 13087: 13067: 13025: 12937: 12897: 12688: 12628: 12528: 12506: 12490: 12451: 12436: 12392: 12310: 12305: 12295: 11912: 11327:

Rocking the Classics: English Progressive Rock and the Counterculture

10774: 10373: 10284:, vol. 6, no. 10 (October), GPI Publications, pp. 64ff 9897: 9753:

Gluck, Robert J (2005), "Fifty Years of Electronic Music in Israel",

9544: 8688: 8425: 7533: 6144: 5099: 4923: 4903: 4865: 4825: 4767: 4619: 4323: 4197: 3923: 3869: 3844: 3753: 3595: 3581: 3527: 3443: 3390: 3359: 3343: 3323: 3305: 3301: 3277: 3132: 3124: 3098: 3076: 2986: 2971: 2939: 2935: 2878: 2786: 2704: 2679: 2263: 2118: 2052: 1991: 1918: 1868: 1864: 1844: 1341: 1275: 1258: 865: 769: 732: 616: 608: 367: 362: 347: 307: 297: 292: 282: 167: 117: 13104: 11596:

Modulations: a History of Electronic Music: Throbbing Words on Sound

10770:"Jazzing It Up at the NCC: Hancock and Apple II Make Music Together" 10604:

All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul

10260: 10107: 10062: 10028: 9979:

Lange, A. (2009). "Musique concrète and Early Electronic Music". In

6795: 5250: 3942: 3922:

was artistic director, and his live-electronic instruments like the

3373:

Dub music influenced electronic musical techniques later adopted by

2479:

The first music to be performed in England was a performance of the

14208: 13990: 13886: 13843: 13826: 13801: 13712: 13645: 13640: 13597: 13592: 13538: 13516: 13328: 13323: 13192: 13173: 13121: 13013: 12974: 12942: 12932: 12927: 12912: 12907: 12833: 12818: 12730: 12623: 12387: 12217: 11640: 10588:, Kölner Schriften zur neuen Musik 2., Mainz and New York: Schott, 9962: 9724:

Gayou, Évelyne. (2007a). "The GRM: Landmarks on a Historic Route".

9572: 9341: 9301: 9283:

23rd Annual International Dance Music Awards Nominees & Winners

8850: 7730:

to be pioneers in the musical genre that we now call "electronica."

6155:

developed by Frederick Albert Hoschke in 1934 then manufactured by

5839: 5051: 5008: 4857: 4722: 4671: 4611: 4049: 3727:

made the development of purely electronic sounds much easier, with

3599: 3571: 3417: 3339: 3120: 2954:

series of turntables. It was succeeded by the Technics SL-1100 and

2782: 2762: 2642:

for translating graphical images into musical results and composed

2174: 2162: 1950: 1492: 1440: 1252: 773: 657: 506: 287: 157: 11126:

Dorschel, Andreas, Gerhard Eckel, and Deniz Peters (eds.) (2012).

8279:"BBC – Radio 1 – Keeping It Peel – 06/05/1980 A Flock of Seagulls" 7035:"Analog synth pioneer Suzanne Ciani reflects on her life in waves" 6949: 5251:"Berlin Love Parade. What happened to the World's Greatest Party?" 4974: 3211:. The album achieved critical and commercial success, winning the 670:

in 1907, demonstrating the size, operation, and popularity of the

13796: 13779: 13587: 13550: 13442: 13393: 13180: 12890: 11130:. Routledge Research in Music 2. London and New York: Routledge. 10568:

Into the Maelstrom: Music, Improvisation and the Dream of Freedom

9857:

Electronic and Experimental Music: Technology, Music, and Culture

9837:

Electronic and Experimental Music: Technology, Music, and Culture

9496:

Collins, Nick (2003), "Generative Music and Laptop Performance",

9216:

Angus, Robert (1984), "History of Magnetic Recording, Part One",

8770: 8640:. Vol. 3, no. 2. Office of Technology Licensing (OTL), 8024: 7115:

was "EO-4420" in 1958. See also the Japanese Knowledge article: "

6203:

New Electric Musical Instrument – Introduction of the Magna Organ

5012: 4978: 4951: 4572: 3772: 3483: 3382: 3351: 2874: 2671: 2515: 2439: 2254:'s Creative Tape Recorder (a sound synthesizer) aka "Multi-track" 1983: 1934: 1930: 1917:, the first complete work of computer-assisted composition using 1336:

The Music for Magnetic Tape Project was formed by members of the

1062: 947: 312: 10215:

Sounding Art: Eight Literary Excursions through Electronic Music

10176:"A Singer's Guide to Performing Works for Voice and Electronics" 9719:, Sydney Conservatorium of Music, Sydney eScholarship Repository 7066: 2215:. Other composers of electronic music active in the UK included 14106: 14019: 13928: 13650: 13582: 13560: 13501: 13464: 13356: 13227: 13217: 13099: 13082: 13020: 12823: 12755: 12606: 12601: 12407: 11798: 10984:

Age of Contradiction: American Thought and Culture in the 1960s

10023:(4), translated by Brigitte Robindoré and Curtis Roads: 11–22, 7713:"How a Sound Guru Got From Synthesizers to the Music of Nature" 5859: 4892: 4775: 4762: 4031: 3985: 3981: 3545: 3010: 2870: 2866: 2473: 2461: 2449: 2394:

and solo. A well-known example of the use of Moog's full-sized

2259: 2146: 1767:

The earliest group of electronic musical instruments in Japan,

1648: 1636: 1301: 1295: 1039:(1974) that consisted of 80 loudspeakers for tape playback, at 736: 352: 95: 11530:, translated by Robert Filliou, New York: Something Else Press 10726:

Back to the 8 Bit: A Study of Electronic Music Counter-Culture

9185:"Charanjit Singh on How He Invented Acid House ... by Mistake" 8472: 6493: 6438: 6354: 4927: 4345:

The first commercially available sampling synthesizer was the

4001:. In 1985 we solved the tempo rubato problem by incorporating 3201:

The Moog synthesizer was brought to the mainstream in 1968 by

1593:

designed an "orchestrolla" – a modification of the mellotron.

968: 14076: 13999: 13506: 13376: 12740: 12516: 12030: 12015: 11526:

Russolo (1967), "The Art of Noise: Futurist Manifesto 1913",

11477:

Generation Ecstasy: Into the World of Techno and Rave Culture

10514:. DuMont Dokumente. Vol. 4. Cologne: DuMont Buchverlag. 10491:. DuMont Dokumente. Vol. 3. Cologne: DuMont Buchverlag. 8989: 4216: 4177: 3952:

describes one of his experiences with early computer sounds:

3929: 3883: 3804: 3330:

electronics, complete with drop-outs, echo, equalization and

3300:

to circumvent the language barrier. Their synthesiser-heavy "

3043: 2943: 2539: 2535: 2160:

for violin and tape as well as the premiere of Stockhausen's

1628:

CSIRAC, Australia's first digital computer, displayed at the

1400: 959: 604: 383: 152: 11460:

Energy Flash: A Journey Through Rave Music and Dance Culture

11223:

On The Wires of Our Nerves: The Art of Electroacoustic Music

10465:

Sofer, Danny; Lynner, Doug (1977), "Pat Gleeson interview",

10359:

The Liberation of Sound: An Introduction to Electronic Music

9073: 8851:"Dancing Astronaut – EDM, trap, techno, deep house, dubstep" 6088:Татьяна Анциферова: «У меня не было желания покорять мир...» 2352:, and has since been renamed Center for Contemporary Music. 1596:

The Baltic Soviet Republics also had their own pioneers: in

1551:, one of the world's first polyphonic musical synthesizers. 1216:

man is alone, a world of mystery and essential loneliness."

1007: 38:"Electronic musician" redirects here. For the magazine, see 14193: 13975: 13960: 13717: 12020: 11826: 10876: 10635:, Cambridge, Massachusetts: MIT Press, pp. xxvii–xxx, 10185:, Austin: The University of Texas at Austin, archived from 8631:"Bell Tolls for FM Patent, but Yamaha Sees "New Beginning"" 8091:"Why Kraftwerk are still the world's most influential band" 7279: 6822:"Early Computer Music Experiments in Australia and England" 4872:) for popularizing the latest version of electronic music. 4791: 4419: 4399: 4392: 4280: 4276: 4193: 4039: 4018: 3955: 3819: 3720: 3522: 3453:. Between 1977 and 1981, Kraftwerk released albums such as 3363: 3293: 3194:

became a worldwide success due to the 1972 version made by

2985:, a form of popular electronic music emerged in the 1960s, 2809: 2801: 2639: 1784: 1220: 1142: 1026: 881:

technology. Recordings could be spliced together to create

636: 9085: 8592: 8568: 6563: 6234: 5328:. Danbury, Connecticut: Grolier Incorporated. p. 211. 5326:

The Encyclopedia Americana – International Edition Vol. 13

3975:

audio processor, enabling real-time pitch-following. On a

3598:

pioneering bands which enjoyed success for years included

3482:(who is credited the first rock song to feature a digital 2674:, hand-held microphones, filters, and potentiometers, and 564:

with computers was first demonstrated in the same decade.

12070: 11401: 8940:"House Music: How It Sneaked Its Way Into Mainstream Pop" 8038:

Guinness World Records – British Hit Singles & Albums

7978:

Nicholas Collins, Margaret Schedel, Scott Wilson (2013),

7484:

Nicholas Collins, Margaret Schedel, Scott Wilson (2013),

7405:"History of the Record Player Part II: The Rise and Fall" 7112: 6587: 6402: 6273: 5677: 4718: 3234:

formed the world's first synthesizer ensemble called the

2713: 2488: 2408:, which triggered a craze for synthesizer music. In 1969 2032: 1624: 1267: 1180:, for chamber ensemble and tape sounds, and two works by 772:, and more practical for performance. In particular, the 11868: 11056:

Electric Sound: The Past and Promise of Electronic Music

9097: 8392: 8040:(18 ed.). Guinness World Records Ltd. p. 472. 7092:(in Japanese). Diamond Lead Company. 1993. p. 752. 6551: 6093: 5814: 5361: 5181:"Synthedelia: Psychedelic Electronic Music in the 1960s" 2121:, Philippe Carson, Romuald Vandelle, Edgardo Canton and 2051:, in contrast to the more mathematical approach used by 1664:

in the autumn of 1951. The music program was written by

739:

allowed for by electronics in the influential manifesto

11747:, Photography by Henry Diltz, New York: Da Capo Press, 11727:, New York: Schirmer Books; London: Collier Macmillan, 11226:, Cranbury, New Jersey: Associated University Presses, 9133: 7865: 7459:

Dub: Soundscapes and Shattered Songs in Jamaican Reggae

6703: 6575: 6378: 5985:"From at least Louis and Bebbe Barron's soundtrack for 5689: 4942:. Independent labels associated with the style include 4709:

series and clones (like the Yamaha YM2149) used in the

3861:

Proliferation of electronic music research institutions

951:

the first commercially produced tape recorder in 1948.

11301:(1964), "Some Random Remarks About Electronic Music", 11155:, Aldershot, Hampshire; Burlington, Vermont: Ashgate, 10968:, AMG Allmusic Series, San Francisco: Backbeat Books, 9914:

Krause, Manfred (2002), "AES Convention 112 (April)",

9557:

Eimert, Herbert (1972), "How Electronic Music Began",

8693: 8131: 7847:"Biography – Mother Mallard's Portable Masterpiece Co" 7581: 6727: 6715: 6474: 6300: 6246: 5870: 5518:, "Russian Electroacoustic Music from the 1930s–2000s" 4985:

As computer technology has become more accessible and

3811:

from Spain. Also, the synth sound is a key feature of

3428:

who were significant influences on the development of

3151:, Thom Holmes recognises the Beatles' 1966 recording " 2448:

Musical melodies were first generated by the computer

1247:, which used sounds recorded from acoustical sources. 829:

treated it as a source of noise in otherwise-acoustic

677:

At the turn of the 20th century, experimentation with

11682:"The Music Sequencer: What Is It and What Can It Do?" 11196:"John T. Mullin: The Man Who Put Bing Crosby on Tape" 10092:(1968), "An Unfinished History of Electronic Music", 9641:, further editing by Richard L. Hess, Richardhess.com 9542:

Eimert, Herbert (1958), "What Is Electronic Music?",

9526:

The Music of CSIRAC, Australia's First Computer Music

8801: 8580: 8556: 8207: 6450: 6426: 5967: 5790: 5778: 5739: 5584: 4559:

released in late 1981 that later became a fixture in

4515:. Please help to ensure that disputed statements are 3111:

In the late 1960s, pop and rock musicians, including

2093:(GRM) and set about recruiting new members including 1409:

Transposition, Reverberation, Experiment, Composition

1141:

was established at RTF in Paris, the ancestor of the

9677:

History of Experimental Music in Northern California

9109: 6653: 6630:"A central figure in post-war electronic art music, 5751: 5349: 5061: 4184:, a model for many digital synthesizers of the 1980s 3182:

are regarded as pioneers in the electronic rock and

2958:

in the early 1970s, and they were widely adopted by

9820:(2nd ed.), London: Routledge Music/Songbooks, 9669:(1964), "Space-Sound Continuum in Total Darkness", 9241:"Artists and Producers Strive for Inroads Overseas" 9050: 9048: 9046: 9044: 8343: 8117:"The Top 40 Best-Selling Studio Albums of All Time" 7528:

Computers in Music Education: Amplifying Musicality

7506:Nicholas Collins, Julio d' Escrivan Rincón (2007), 7081: 6925: 6643: 6641: 5802: 5440:

Father of radio: the autobiography of Lee de Forest

3888:

research and development of new musical instruments

3066: 877:Composers began to experiment with newly developed 874:in 1939 by adjusting the speeds of recorded tones. 11518:(1913), "L'arte dei rumori: manifesto futurista", 11324: 11245:Noise, Water, Meat: A History of Sound in the Arts 10778:, vol. 4, no. 26 (5 July), pp. 1, 5 10403:Russian Electroacoustic Music from the 1930s–2000s 9992: 8991: 8228:"Item Display – RPM – Library and Archives Canada" 8213:"'The Buggles' by Geoffrey Downes" (liner notes). 7981:Electronic Music: Cambridge Introductions to Music 7894: 7892: 7487:Electronic Music: Cambridge Introductions to Music 6462: 6414: 6390: 5727: 4571:in 1982, though it would not be popularized until 3471:, which influenced subgenres of electronic music. 2262:fellowship for studies in electronic music (1958) 12131: 11744:Crosby, Stills and Nash: The Authorized Biography 11648:Electronic Music: Systems, Technics, and Controls 10203: 10133:The Man Who Dies Every Day: Ultravox: Song Review 8958:Campbell, Michael (2012). "Electronica and Rap". 8736: 8734: 8719: 8535: 8411: 8368:What Makes This Song Great? Ep. 61 Van Halen (#2) 7877: 5650: 5151:Campbell, Michael (2012). "Electronica and Rap". 4634:, one of the first and most popular programmable 4451:developed graphic signal-processing software for 4233:and released in April 1987. Its features include 3829:Keyboard synthesizers became so common that even 2847:patented a preset rhythm-pattern generator using 2491:outside broadcasting unit: the National Anthem, " 2055:composers of the time such as Babbitt. El-Dabh's 1589:to foreign countries. In the mid-1970s, composer 1443:piece" using manipulated recordings of flute—and 1399:purchased its first tape recorder—a professional 768:led to electronic instruments that were smaller, 14225: 11331:, Oxford and New York: Oxford University Press, 10365: 10237:, ATPM (About This Particular Macintosh) website 10208:, Cologne-Rodenkirchen: P. J. Tonger Musikverlag 10045:"About Audium—A Conversation with Stanley Shaff" 9839:(3rd ed.), London and New York: Routledge, 9716:Nasty Noises: 'Error' as a Compositional Element 9596:, Aldershot (Hants.), Burlington (VT): Ashgate, 9041: 8447: 8417: 7996: 7994: 7692:. Shindig! Media Ltd & Silverback Publishing 6986:"Throbbing Gristle Personnel: Cosey Fanni Tutti" 6638: 3119:, began to use electronic instruments, like the 1783:Following the foundation of electronics company 1190:Rhapsodic Variations for the Louisville Symphony 658:Origins: late 19th century to early 20th century 11616:Techno Rebels: The Renegades of Electronic Funk 11084:, 120 Years of Electronic Music, archived from 10685:, Metuchen, New Jersey: Scarecrow Press, Inc., 10167:The New Grove Dictionary of Music and Musicians 8766:Yellow Magic Orchestra – Yellow Magic Orchestra 8758: 8746: 8151:"The Number Ones: Vangelis' "Chariots Of Fire"" 7889: 7652: 7502: 7500: 7480: 7478: 7255:"The 14 drum machines that shaped modern music" 7059: 6747:"Electronic India 1969–73 revisited – The Wire" 5857:"In 1967, just following the world premiere of 4606:(1974), which used a rhythm machine along with 4474: 3602:with their 1977 track "Hiroshima Mon Amour" on 3322:was pioneered by King Tubby and other Jamaican 2692:for choir, Hammond organ, and ring modulators. 2472:" of which no known recordings exist. However, 1148: 784:were commercially produced by the early 1930s. 11505:"Researchers Play Tune Recorded before Edison" 11282:Electroacoustic Music: Analytical Perspectives 11001:(Originally published: New York: Twayne, 1998) 10453:Pierre Schaeffer: Inventor of Musique Concrete 9983:, edited by Rob Young, 173–180. London: Verso. 8867: 8731: 8612:"History of Masters Program in Digital Musics" 8546: 8544: 7626: 7266: 7264: 7199: 7197: 7195: 7193: 7191: 7104:Developed Japan's first electronic organ, 1958 6751:The Wire Magazine – Adventures In Modern Music 5210:Electroacoustic music may also use electronic 4693:Common cheap popular sound chips of the first 4334:The earliest digital sampling was done on the 3474:In this era, the sound of rock musicians like 3256:took a leading place in the sound of emerging 922: 905:. Further, the technology allowed sound to be 12117: 11854: 11174:Modern Music and After: Directions Since 1945 10361:, Englewood Cliffs, New Jersey: Prentice-Hall 9632:Engel, Friedrich Karl; Hammar, Peter (2006), 8998:(4th ed.). Backbeat Books. p. 634. 8628: 8014: 8012: 7991: 7741: 7461:. Wesleyan University Press. pp. 26–44. 7312: 7174: 7172: 7170: 7122: 6290: 6288: 6224: 6222: 6124: 6122: 6110: 6108: 5437: 4756:, achieving success along much of the 1990s. 4414:—and later, other participants that included 3530:recorded a disco version of the hit theme by 3236:Mother Mallard's Portable Masterpiece Company 2460:The world's first computer to play music was 1635:The world's first computer to play music was 1077:On 5 October 1948, RDF broadcast Schaeffer's 927: 525:. Such electromechanical devices include the 455: 12091:Studio di fonologia musicale di Radio Milano 10602:Unterberger, R. (2002), "Progressive rock", 9797:Spatial Sound's Longest Running One-Man Show 9665: 9358:3-D Sound for Virtual Reality and Multimedia 8985: 8983: 8462: 8333: 8331: 8198: 8196: 7761:influential on electronica and techno music. 7710: 7497: 7475: 7249: 7247: 6647: 6205:] (in Japanese). Hamamatsu: 日本樂器製造株式會社 ( 5667: 5665: 5417: 5415: 5413: 3666:recorded in 1980 and released in 1981 album 3312:), would be a major influence on subsequent 3061: 2219:(who established his first studio in 1955), 1829:Musique concrète was introduced to Japan by 1703:. There might be a discussion about this on 1374: 1264:Studio di fonologia musicale di Radio Milano 1135:The Groupe de Recherches de Musique Concrète 27:Music genre that uses electronic instruments 11827:History and Development of Electronic Music 11810:History of Electroacoustic Music – Timeline 11650:, second ed. Dubuque, Iowa: W.C. Brown Co. 11555:New Sounds: A Listener's Guide to New Music 11405:] by Brian Eno., New York: Bloomsbury, 10601: 10549:, Tel-Aviv: Israel Music Institute., 2002, 10505: 10479: 10464: 10323:Composing Electronic Music: A New Aesthetic 10278:"The RCA Synthesizer & Its Synthesists" 9631: 9392:"Six Machines That Changed The Music World" 8895: 8541: 8519: 8393:Tengner, Anders; Michael Johansson (1987). 8029: 7883: 7810: 7509:The Cambridge Companion to Electronic Music 7261: 7188: 6998:. Brainwashed.com. Retrieved 21 April 2021. 6955: 6899: 6813: 6332: 6330: 6317: 6315: 6263: 6261: 5845: 5629: 5596: 4430:of Sequential Circuits and proposed to the 3145:Pisces, Aquarius, Capricorn & Jones Ltd 2828:, which was developed as an option for the 1899:The impact of computers continued in 1956. 12124: 12110: 12086:Studio for Electronic Music (WDR, Cologne) 11861: 11847: 11522:, Milan: Direzione del movimento futurista 11284:, Westport, Connecticut: Greenwood Press, 10663:"Tadao Kikumoto Invents the Roland TB-303" 9793: 9523: 9017: 9015: 8960:Popular Music in America: The Beat Goes On 8604: 8175: 8009: 7811:Licht, Alan; Oldham, Will (3 April 2012). 7564:"Classic Tracks: The Doors 'Strange Days'" 7380: 7378: 7376: 7374: 7343:The World of DJs and the Turntable Culture 7298: 7167: 6819: 6793: 6709: 6494:"Delia Derbyshire Audiological Chronology" 6342: 6285: 6219: 6179:(in Japanese). 8 June 1935. Archived from 6119: 6105: 6099: 5567:The Hutchinson Concise Dictionary of Music 5509: 5153:Popular Music in America: The Beat Goes On 4918:came into common use. Other acts included 4618:" was one of the first singles to use the 4331:sampler made sampling far more practical. 3833:rock bands, a genre often regarded as the 3050:, and the mixing and scratching of vinyl. 2062:Columbia-Princeton Electronic Music Center 2011:In 1958, Columbia-Princeton developed the 1381:Columbia-Princeton Electronic Music Center 980:Columbia-Princeton Electronic Music Center 603:, through the emergence of genres such as 462: 448: 14199:Music technology (electronic and digital) 11435:"The History Of Roland Part 1: 1930–1978" 11071:itunes.apple.com Best of Electronic Music 10832:Learn how and when to remove this message 10680: 10583: 10528: 10438:, no. Summer, Santa Clara University 10248: 10173: 9981:The Wire Primers: A Guide To Modern Music 9294: 9286:, Winter Music Conference, archived from 9279: 9253: 9238: 9226: 9127: 8980: 8813: 8752: 8491: 8337: 8328: 8230:. Collectionscanada.gc.ca. Archived from 8193: 7944: 7772: 7599: 7432:Six Machines That Changed The Music World 7244: 7206:"The History Of Roland Part 1: 1930–1978" 6843: 6624: 6569: 6366: 6007: 6005: 6003: 6001: 5999: 5957: 5955: 5953: 5951: 5949: 5947: 5934: 5932: 5930: 5906: 5894: 5882: 5820: 5784: 5768: 5766: 5695: 5662: 5590: 5545: 5533: 5521: 5485: 5473: 5461: 5449: 5427: 5410: 5398: 5337: 5331: 4535:Learn how and when to remove this message 4123:Additive synthesis § Implementations 3879:IRCAM at the Place Igor Stravinsky, Paris 2592:Learn how and when to remove this message 2284:Technion – Israel Institute of Technology 1799:recorders for government and public use. 1723:Learn how and when to remove this message 207:music technology (electronic and digital) 10707:: Thought and Mathematics in Composition 10387: 10129: 9987: 9635:A Selected History of Magnetic Recording 9591: 9484:Journal of the Audio Engineering Society 9480: 9389: 9197: 9103: 9091: 9079: 8990:Vladimir Bogdanov; Jason Ankeny (2001). 8957: 8819: 8807: 8562: 8202: 7448: 7446: 7128: 7012:. Oxford University Press. p. 172. 6961: 6581: 6542:"Improved scans – Israel State Archives" 6525:"Improved scans – Israel State Archives" 6384: 6327: 6312: 6258: 5833: 5708: 5305: 5237: 5150: 5045: 4965: 4511:Relevant discussion may be found on the 4313: 4303:to different pitches to produce musical 4176: 4017: 4013: 3954: 3874: 3710: 3240: 2903: 2791: 2752: 2245: 2083:The West Coast Pop Art Experimental Band 2000: 1623: 1467: 1432:eventually completed the compositions." 1152: 836: 752: 661: 11247:, Cambridge, Massachusetts: MIT Press, 10917:Bassingthwaighte, Sarah Louise (2002), 10767: 10722: 10698: 10399: 10356: 10234:Beyond the Barline: One Down, Two to Go 10145: 10088: 9953: 9891: 9732: 9495: 9447: 9355: 9139: 9115: 9056:"Indie Electronic Music Genre Overview" 9012: 8918: 8861: 8503: 8035: 8000: 7951:. Hal Leonard Corporation. p. 38. 7683: 7397: 7371: 6972: 6943: 6871: 6671: 6480: 6045: 6043: 6041: 6039: 5979: 5973: 5961: 5938: 5921: 5900: 5888: 5876: 5745: 5515: 5497: 5392: 5380: 5367: 4108: 3992:for flute and piano and by 1984 my own 3962:(c. 1983) at IRCAM machine room in 1989 3620:with their prominent 1979 debut single 3158:Also in the late 1960s, the music duos 2748: 2518:, a direct digital synthesis language. 1863:radiophonic equipment, ondes Martenot, 1530:Ensemble of electro-musical instruments 1333:, where it made a "strong impression". 1243:was sharply differentiated from French 14: 14226: 11104:, Toronto, Ontario: Clark-Nova Books, 10619: 10468:Synapse: The Electronic Music Magazine 10449: 10217:, Aldershot: Ashgate Publishing, Ltd, 10212: 10164: 10012: 9913: 9853: 9834: 9815: 9782: 9723: 9652: 9556: 9541: 9404: 9249:, no. 26 May, pp. J–14, J–31 9182: 9154:"Hacking a Furby in the name of music" 9021: 8740: 8699: 8598: 8574: 8550: 8478: 8137: 7898: 7587: 7425: 7032: 7007: 6931: 6858: 6733: 6721: 6456: 6444: 6432: 6408: 6396: 6372: 6360: 6348: 6294: 6279: 6240: 6228: 6114: 5996: 5990: 5944: 5927: 5864: 5808: 5796: 5763: 5733: 5721: 5683: 5614: 5551: 5539: 5527: 5491: 5479: 5467: 5433: 5421: 5404: 5386: 5355: 5343: 5323: 5311: 5233: 5220: 5204: 5198: 5187: 4733: 4728: 4467:(with Dave Zicarelli extending it for 3971:had connected his flute to DiGiugno's 3248:performing in Saint Petersburg in 2008 3058:was a key site of dub music creation. 3038:over pre-recorded music comparable to 1761:and the designated tone cabinet (1935) 1656:computer, a commercial version of the 1491:), comparable to the principle of the 1278:, the Netherlands, which moved to the 12105: 11842: 11534:Russolo (1986), "The Art of Noises", 11144:The Language of Electroacoustic Music 10919:"Electroacoustic Music for the Flute" 10740: 10427: 10317: 10295: 10102:(3 (November)): 42–49, 135–142, 145, 9978: 9930: 9860:(4th ed.). New York: Routledge. 9752: 9682: 9610: 9451:(2004), "Electronic Music and Life", 9429: 9400:, vol. 10, no. 5, pp. 9215: 9151: 8667: 8586: 8375:from the original on 11 December 2021 8361: 8252: 8060: 7871: 7844: 7443: 7181:The Cambridge Companion to Percussion 6557: 6468: 6336: 6321: 6306: 6267: 6252: 5772: 5757: 5671: 5656: 5641: 5602: 5563: 5455: 5274: 5095:New Interfaces for Musical Expression 4327:the instrument. The emergence of the 4229:is a digital synthesizer produced by 3715:New Order performing in Chile in 2019 3560:Academy Award for Best Original Score 3548:chart at #30. The score of 1978 film 3308:(for a time the keyboard player with 2965: 2733:on stage with a synthesizer with the 2563:This section may contain information 2420:in Ahmedabad with the support of the 2268:Centre for Electronic Music in Israel 1207:, the tape controls were operated by 748: 11599:, New York: Caipirinha Productions, 11520:Manifesti del movimento futurista 14 11204:, no. 1 October, archived from 11153:Music, Electronic Media, and Culture 10788: 10660: 10562: 10533:, Tel-Aviv: Israel Music Institute, 10338: 10275: 10230: 10204:Morawska-Büngeler, Marietta (1988), 10174:Montanaro, Larisa Katherine (2004), 9712: 9386:Technical Memorandum facsimile 2000. 9256:"1935 AEG Magnetophon Tape Recorder" 8725: 8711: 8349: 7938: 7910: 7814:Will Oldham on Bonnie 'Prince' Billy 7686:"Fifty Foot Hose – If Not This Time" 7452: 7387:The Oxford Handbook of Sound Studies 7203: 6968: 6420: 6036: 5503: 4488: 4295:or another triggering device (e.g., 3857:, which feature synths prominently. 2773:began influencing the international 2729:performed selections from her album 2549: 2278:arrived in Jerusalem to install his 1894: 1675: 11709:Music Education Technology Magazine 10531:Musica Nova in the Third Millennium 10529:Tal, Josef; Markel, Shlomo (2002), 10042: 9995:The Companion to 20th-Century Music 9736:Theremin: Ether Music and Espionage 9588:39 (January–February 1972): 42–44.) 8614:. Dartmouth College. Archived from 7750:. Guardian News & Media Limited 7742:Adam Sweeting (21 September 2016). 6659: 5115:Timeline of electronic music genres 4875: 4445:and sampled-ROM-based instruments. 3967:At IRCAM in Paris in 1982, flutist 3225:Best Engineered Classical Recording 3166:, and experimental rock bands like 2649: 2638:. He developed the computer system 2545: 2128: 1302:Hymnen, dritte Region mit Orchester 1203:in Hamburg, which was conducted by 1139:Radiodiffusion-Télévision Française 985: 627:. In the early 1980s mass-produced 552:in the 1940s, in Egypt and France. 212:timeline of electronic music genres 24: 11058:, Upper Saddle River, New Jersey: 10784: 10140:from the original on 11 March 2011 9916:The Legendary 'Magnetophon' of AEG 9655:"'Oldest' Computer Music Unveiled" 9325: 8889:10.1111/j.1533-1598.2001.tb00013.x 8448:Nicolas Schöffer (December 1983). 8312:. 19 December 2018. Archived from 8061:Green, Thomas H. (27 March 2008). 7602:"Silver Apples: Early Electronica" 7090:Diamond's Japan Business Directory 7088:"Vicotor Company of Japan, Ltd.". 7033:Rancic, Michael (29 August 2018). 6593: 6211:特許第一〇八六六四号, 同第一一〇〇六八号, 同第一一一二一六号 5127:List of electronic music festivals 5034: 4961: 4151:, who had experimented with it at 3554:composed by Italian synth-pioneer 3541:Close Encounters of the Third Kind 3402:Electric Samurai: Switched on Rock 3190:" written by Gershon Kingsley for 2464:, which was designed and built by 2362:San Francisco Museum of Modern Art 1826:tape music between 1952 and 1953. 1639:, which was designed and built by 1250:In 1953, Stockhausen composed his 1130:, for concrete sounds and voices. 760:demonstrating the theremin in 1927 25: 14290: 14204:Recording studio as an instrument 12066:Philips Natuurkundig Laboratorium 11762: 11725:The Technique of Electronic Music 11668:, Entertainment.howstuffworks.com 10861:Yellow Magic Orchestra: Biography 10475:(5 (January–February)): 21–24, 35 9432:Kraftwerk: Man, Machine and Music 9415:Sketch of a New Esthetic of Music 9407:Sketch of a New Esthetic of Music 9152:Deahl, Dani (14 September 2018). 7711:Craig Miller (14 November 2016). 7384:Trevor Pinch, Karin Bijsterveld, 5442:, Wilcox & Follett, pp. 4567:. One of the first to use it was 4551:, the most influential being the 4356:First released in 1977–1978, the 3644:Orchestral Manoeuvres in the Dark 3149:Electronic and Experimental Music 2427: 1116:École Normale de Musique de Paris 713:Sketch of a New Esthetic of Music 489:and software, or general-purpose 33:Electronic music (disambiguation) 13362:Christian electronic dance music 11941: 11797: 11686:Electronic Music of Brainvoyager 10793: 10547:Musica Nova im dritten Millenium 9421:, by Charles E. Ives, New York: 9360:, Boston: Academic Press, 1994, 9145: 9121: 8951: 8933: 8877:Journal of Popular Music Studies 8843: 8825: 8775: 8705: 8622: 8513: 8484: 8441: 8386: 8355: 8296: 8271: 8253:Paige, Betty (31 January 1981). 8246: 8220: 8169: 8143: 8109: 8083: 8054: 7972: 7904: 7838: 7804: 7766: 7735: 7704: 7677: 7646: 7620: 7593: 7556: 7538: 7519: 7354: 7335: 7225: 7026: 7001: 6978: 6852: 6794:Doornbusch, Paul (9 July 2017). 6739: 6688: 5064: 4547:The early 1980s saw the rise of 4493: 4386: 4079:(1975), Karlheinz Stockhausen's 3067:Rise of popular electronic music 2925:has origins in the invention of 2554: 2059:, released as part of the album 1929:, who developed the influential 1748: 1739: 1680: 1308: 1025: 1006: 938:Sound recording and reproduction 907:graphically created and modified 12076:San Francisco Tape Music Center 11480:, Boston: Little, Brown, 1998, 11220:Heifetz, Robin J., ed. (1989), 10544:. Also published in German, as 10506:Stockhausen, Karlheinz (1978). 10366:van Schutterhoef, Arie (2007), 9022:Branco, Holly (8 August 2022). 8906:The History of Music Production 8304:"Movement 'Definitive Edition'" 7773:Friedmann, Jonathan L. (2018). 6665: 6599: 6534: 6517: 6500: 6486: 6081: 6055: 6024: 5851: 5826: 5714: 5701: 5635: 5623: 5608: 5557: 5373: 5090:List of electronic music genres 4973:, an electronic music event in 4211:was the first and best-selling 4202:Digitally controlled oscillator 4119:Digitally controlled oscillator 3544:. Page's version peaked on the 2699:discovered and began to teach " 2524:algorithmic musical composition 2501:this Manchester University site 2416:and Ampex tape machines to the 2374:National Endowment for the Arts 2323:San Francisco Tape Music Center 1822:, were also experimenting with 1057:(RDF), during the early 1940s, 966:to record sounds of an ancient 735:. They predicted expansions in 11996:Groupe de Recherches Musicales 11536:Monographs in Musicology no. 6 11078:"The Hammond Novachord (1939)" 11067:A. Patterson Light & Sound 10661:Vine, Richard (15 June 2011), 9922:E-Library., paper number 5605. 9611:Engel, Friedrich Karl (2006), 9584:(First published in German in 9183:Aitken, Stuart (10 May 2011), 8638:Stanford Technology Brainstorm 8395:Europe – den stora rockdrömmen 7069:[Croda Organ Repair]. 6769:AISB/IACAP World Congress 2012 6512:Four Electronic Music Concerts 5317: 5268: 5243: 5226: 5173: 5144: 4809: 4145:frequency modulation synthesis 4139:In 1975, the Japanese company 4098:miniaturization of electronics 4067:studio in Cologne acquired an 3997:would continually surprise my 3441:with their debut studio album 2771:electronic musical instruments 2190:In the UK in this period, the 2091:Groupe de Recherches Musicales 1883:, and four- and eight-channel 707:encouraged the composition of 683:electronic musical instruments 483:electronic musical instruments 13: 1: 14167:Electronic musical instrument 11619:, New York: Billboard Books, 11503:Rosen, Jody (27 March 2008), 11426:UC Santa Cruz Currents Online 11266:, : Course Technology, Inc., 11151:Emmerson, Simon, ed. (2000), 10895:"Inventing the Wire Recorder" 10889:. Guide ID: A520831 (Edited). 10816:and help improve the section. 10428:Snell, Karen Crocker (2006), 10148:Electronic and Computer Music 9434:(3rd ed.), London: SAF, 8629:Eric Grunwald (Summer 1994). 7781:Cambridge Scholars Publishing 7627:Theodore Stone (2 May 2018). 7455:"Electronic Music in Jamaica" 7306:"Automatic rhythm instrument" 7178:Russell Hartenberger (2016), 5564:Jones, Barrie (3 June 2014). 4192:is a synthesizer released by 4135:Bell Labs Digital Synthesizer 3886:(1969-2021) was a center for 3252:By the end of the 1960s, the 3107:Contemporary electronic music 3054:Waterhouse ghetto of western 2184:The Day the Earth Stood Still 2013:RCA Mark II Sound Synthesizer 2006:RCA Mark II Sound Synthesizer 1391:RCA Mark II Sound Synthesizer 571:was pioneered, innovation in 11788:Resources in other libraries 11593:Shapiro, Peter, ed. (2000), 11558:, New York: Harper Collins, 11532:. Second English version as 11491:; New York: Routledge, 1999 11280:Licata, Thomas, ed. (2002), 10768:Zussman, John Unger (1982), 10743:"Once Upon a Time: In Cairo" 10341:Sound Synthesis and Sampling 10303:, Cambridge, MA: MIT Press, 9800:, artssf.com, archived from 9234:, Columbia Records, MG 31078 8925:EDM – Electronic Dance Music 8676:Sound Synthesis and Sampling 8036:Roberts, David, ed. (2005). 7185:, Cambridge University Press 6050:Советская электронная музыка 5137: 4906:(who used vintage gear) and 4665: 4610:and a synthesizer. In 1977, 4475:Sequencers and drum machines 4263:is an electronic or digital 4143:licensed the algorithms for 3172:the United States of America 2735:St. Louis Symphony Orchestra 2418:National Institute of Design 1972:released their debut album, 1619: 1274:, and the Philips studio at 1149:Elektronische Musik, Germany 1124:Symphonie pour un homme seul 414:Studio as compositional tool 7: 11991:Electronic Music Foundation 11822:Electronic Music Foundation 11065:Chekalin, Mikhael (n.d.). " 10681:Weidenaar, Reynold (1995), 10325:, Oxford University Press, 10301:The Computer Music Tutorial 10255:17, no. 3 (Autumn): 14–19. 10043:Loy, Gareth (Summer 1985), 9939:. London: Faber and Faber. 9510:10.1080/0749446032000156919 9356:Begault, Durand R. (1994), 8538:, pp. 52, 55, 107–108. 5324:Swezey, Kenneth M. (1995). 5057: 4824:article, "the union of the 4240: 3623:Video Killed the Radio Star 2626:for orchestra (both 1962), 2344:Later, the Center moved to 2295:Composition for Synthesizer 1802:The avant-garde collective 1439:(1952)—"an impressionistic 1170:Studio for Electronic Music 958:, while still a student in 923:Development: 1940s to 1950s 10: 14295: 11711:(February), archived from 11633:Stevenson, Joseph (2004), 11415:, (hardcover eds.) (paper) 11395:Prendergast, Mark (2001), 11120:Elektrische Klangmaschinen 11043:Song Review: 'Blue Monday' 10669:, no. 14 June, London 10430:"The Man Behind The Sound" 10213:Norman, Katharine (2004), 9816:Holmes, Thomas B. (2002), 9405:Busoni, Ferruccio (1962), 9175: 8063:"Oxygene: ba-boo-boo beew" 8020:Osamu Kitajima – Benzaiten 7987:Cambridge University Press 7920:. Serpent's Tail. p. 7600:Tom Doyle (October 2010). 7515:Cambridge University Press 7493:Cambridge University Press 7131:The Piano: An Encyclopedia 6836:Cambridge University Press 6151:, possibly similar to the 6139:" musical instrument, the 6135:), and in 1935 a kind of " 5291:10.1162/096112102762295052 4897:digital audio workstations 4879: 4846:the Future Sound of London 4737: 4675: 4669: 4602:'s progressive rock album 4478: 4426:. A paper was authored by 4390: 4244: 4131:Phase distortion synthesis 4112: 4025: 3630:with his solo debut album 3408:'s progressive rock album 3393:, in the 1980s and 1990s. 3348:Higher Intelligence Agency 3304:", along with the work of 3270:Emerson, Lake & Palmer 3092: 3070: 2975: 2969: 2843:In 1967, Ace Tone founder 2653: 2437: 2431: 2329:, with additional members 2132: 2117:. Later arrivals included 1608:— Gedrus Kupriavicius, in 1475:exhibited at Glinka Museum 1384: 1378: 1316:Imaginary Landscape, No. 1 1199:At the German premiere of 1194:A Poem in Cycles and Bells 995: 989: 942:The first practical audio 931: 928:Electroacoustic tape music 721:Francesco Balilla Pratella 567:During the 1960s, digital 29: 14264:21st-century music genres 14254:20th-century music genres 14244:19th-century music genres 14189:Electronics in rock music 14150:Digital audio workstation 14132: 14047: 13906: 13899: 13859: 13628: 13339: 12786: 12499: 12363: 12278: 12171: 12157: 12140: 12051: 11976: 11950: 11939: 11880: 11783:Resources in your library 11462:, London: Pan Macmillan, 11420:Rappaport, Scott (2007), 11323:Macan, Edward L. (1997), 11264:Electronic Music Pioneers 11118:Donhauser, Peter (2007), 10584:Ungeheuer, Elena (1992), 10512:Texte zur Musik 1970–1977 10357:Russcol, Herbert (1972), 9920:Audio Engineering Society 9849:, (cloth); (pbk); (ebook) 9794:Hertelendy, Paul (2008), 9769:10.1017/S1355771805000798 9699:10.1017/S1355771804000093 9653:Fildes, Jonathan (2008), 9567:(1550 (April)): 347–349, 9524:Doornbusch, Paul (2005), 9498:Contemporary Music Review 9467:10.1017/s1355771804000020 9384:NASA Ames Research Center 9329:Perspectives of New Music 9193:, no. 10 May, London 7853:. AllMusic, Netaktion LLC 7129:Palmieri, Robert (2004). 7073:(in Japanese). May 2017. 7043:. Toronto. Archived from 7010:Wendy Carlos: A Biography 6845:10.1017/S1355771817000206 6820:Doornbusch, Paul (2017). 6153:electrostatic reed organs 5054:became a popular system. 4993:practices: for instance, 4697:of the 1980s include the 4590:Roland MC-8 Microcomposer 4555:, a bass synthesizer and 4463:) and later ported it to 4432:Audio Engineering Society 3062:Late 1960s to early 1980s 3021:comparable to aspects of 2569:to the article's subject. 2156:composition of Luening's 1841:electroacoustic musicians 1375:Columbia-Princeton Center 895:Filippo Tommaso Marinetti 871:Imaginary Landscape No. 1 729:music with acoustic noise 650:to popular forms such as 197:electronics in rock music 183: 178: 101: 86: 67: 57: 52: 12061:BBC Radiophonic Workshop 11577:Art and Electronic Media 11528:A Great Bear Pamphlet 18 11262:Kettlewell, Ben (2001), 11142:Emmerson, Simon (1986). 10988:Cornell University Press 10941:Blumröder, Christoph von 10927:University of Washington 10400:Smirnov, Andrey (2014), 9933:Stockhausen: A Biography 9892:Johnson, Steven (2002), 9786:Tom Dissevelt: Biography 9733:Glinsky, Albert (2000), 9592:Emmerson, Simon (2007), 9198:Anderson, Jason (2008), 7945:Mattingly, Rick (2002). 7684:Shindig (11 June 2022). 7608:. SOS Publications Group 6447:, pp. 153–154, 157. 6363:, pp. 108, 114–115. 6197: 6169: 6017:10 February 2022 at the 5848:, pp. 73–76, 78–79. 5255:www.berlinloveparade.com 4036:Electronic Music Studios 4003:learning from rehearsals 3660:with their first single 3480:The Alan Parsons Project 3377:when Jamaican immigrant 2816:, an electro-mechanical 2804:Donca Matic DA-20 (1963) 2505:University of Canterbury 2414:Moog modular synthesizer 2396:Moog modular synthesizer 2192:BBC Radiophonic Workshop 1671: 1662:University of Manchester 1517:. Composer and inventor 1233:Gottfried Michael Koenig 1079:Etude aux chemins de fer 1055:Radiodiffusion Française 1049:Following his work with 14097:Progressive electronica 13137:Intelligent dance music 12265:Sound system (Jamaican) 11832:24 October 2020 at the 11705:"A Return to Modernism" 11646:Strange, Allen (1983), 11552:Schaefer, John (1987), 11369:(subscription required) 11304:Journal of Music Theory 11178:Oxford University Press 11176:, Oxford and New York: 11100:Cummins, James (2008), 10570:, Bloomsbury Academic, 10508:Christoph von Blumröder 10146:Manning, Peter (2004), 10095:Music Educators Journal 9931:Kurtz, Michael (1992). 9671:San Francisco Chronicle 9594:Living Electronic Music 9552:(English edition): 1–10 9425:, Inc., pp. 73–102 9417:, by Ferruccio Busoni; 8914:Oxford University Press 8868:Kembrew McLeod (2001). 8683:21 October 2017 at the 8520:Sofer & Lynner 1977 8481:, pp. xxviii–xxix. 7393:Oxford University Press 7349:Hal Leonard Corporation 7008:Sewell, Amanda (2020). 6170:一時代を画する新楽器完成浜松の青年技師山下氏 6074:5 February 2017 at the 5630:Engel & Hammar 2006 5011:. In general, the term 4796:Electric Daisy Carnival 4626:drum machine. In 1980, 4347:Computer Music Melodian 3723:and the development of 3702:from their third album 3676:with their 1981 single 3646:with their 1979 single 3580:. After the arrival of 3368:Transglobal Underground 2978:Sound system (Jamaican) 2927:direct-drive turntables 2851:circuit similar to the 2769:In the 1950s, Japanese 2622:for string quartet and 2483:that was programmed by 2481:British National Anthem 2444:Algorithmic composition 2366:San Francisco Chronicle 2274:of Jerusalem. In 1962, 2258:During the time of the 1974:Song Of The Second Moon 1818:, Saburo Tominaga, and 1463: 1331:Donaueschingen Festival 1259:Elektronische Studie II 912:Dr. Jekyll and Mr. Hyde 593:polyphonic synthesizers 591:, with the adoption of 562:algorithmic composition 12418:List of hip hop genres 12144:Electronic dance music 11703:Watson, Scott (2005), 11680:Verboven, Jos (2014), 11194:Hammar, Peter (1999), 10982:Brick, Howard (2000), 10858:Ankeny, Jason (2020), 10847:Ankeny, Jason (2010), 10723:Yabsley, Alex (2007), 10481:Stockhausen, Karlheinz 10252:Computer Music Journal 10130:Maginnis, Tom (2011), 10050:Computer Music Journal 10016:Computer Music Journal 9783:Harris, Craig (2018), 9713:Gard, Stephen (2004), 9430:Bussy, Pascal (2004), 9419:Essays before a Sonata 9390:Blashill, Pat (2002), 9378:10 August 2012 at the 8536:Morawska-Büngeler 1988 8463: 8178:Suicide: No Compromise 7744:"Gilli Smyth obituary" 7453:Veal, Michael (2013). 6958:, pp. 51, 57, 66. 6681:10 August 2012 at the 6065:. Баканов Константин. 5438:Lee De Forest (1950), 5278:Leonardo Music Journal 4982: 4740:Electronic dance music 4725:models, among others. 4622:-like percussion of a 4561:electronic dance music 4381:sample-based synthesis 4319: 4185: 4023: 4011: 3963: 3880: 3716: 3633:The Pleasure Principle 3610:Yellow Magic Orchestra 3249: 3019:tape-based composition 2919: 2909:Direct-drive turntable 2805: 2766: 2686:. In 1965 he composed 2453:has shown that people 2337:, Anthony Martin, and 2304: 2280:Creative Tape Recorder 2255: 2115:Mireille Chamass-Kyrou 2103:François-Bernard Mâche 2008: 1849:twelve-tone techniques 1632: 1476: 1289:"With Stockhausen and 1256:, followed in 1954 by 1158: 1137:, Club d 'Essai de la 1081:. This was the first " 975:The Expression of Zaar 841:Developments in early 761: 731:to evoke the sound of 674: 652:electronic dance music 648:experimental art music 635:, became popular, and 579:. In the early 1970s, 477:broadly is a group of 14259:21st century in music 14249:20th century in music 14239:19th century in music 12580:Electronic body music 12228:Electroacoustic music 12001:Institute of Sonology 11986:Computer Music Center 11874:electroacoustic music 11741:Zimmer, Dave (2000), 11665:How Movie Sound Works 11524:. English version as 11433:Reid, Gordon (2004), 11359:, Oxford Music Online 11311:(1 (Spring)): 89–98, 10899:recording-history.org 10879:encyclopaedia project 10450:Snyder, Jeff (1998), 10339:Russ, Martin (2009), 10282:Contemporary Keyboard 9854:Holmes, Thom (2012). 9835:Holmes, Thom (2008), 9673:, no. 17 October 9413:, by Claude Debussy; 8902:Richard James Burgess 8783:"Sound International" 8418:van Schutterhoef 2007 8397:(in Swedish). Wiken. 8255:"This Year's Mode(L)" 7817:. Faber & Faber. 7525:Andrew Brown (2012), 7320:US patent 3651241 7204:Reid, Gordon (2004), 7156:: the first model by 7111:: the first model by 7071:CrodaOrganService.com 6861:"The Music of CSIRAC" 6570:Tal & Markel 2002 5195:electroacoustic music 5132:Live electronic music 5121:Live electronic music 5046:Modular synth revival 4969: 4956:Ghostly International 4940:School of Seven Bells 4916:software synthesizers 4838:the Chemical Brothers 4707:General Instrument AY 4318:Fairlight CMI (1979–) 4317: 4235:subtractive synthesis 4180: 4127:Subtractive synthesis 4022:Mini-Moog synthesizer 4021: 4014:Keyboard synthesizers 3965: 3958: 3878: 3807:from Switzerland and 3714: 3654:eponymous debut album 3566:, as did it again in 3499:The War of the Worlds 3260:with bands including 3244: 3238:in Ithaca, New York. 3040:live electronic music 2931:belt-drive turntables 2907: 2858:U.S. patent 3,358,068 2795: 2756: 2682:generators, and four 2662:Karlheinz Stockhausen 2656:Live electronic music 2608:began what is called 2567:important or relevant 2503:. Researchers at the 2310:. He was assisted by 2299: 2288:Volkswagen Foundation 2272:The Hebrew University 2249: 2181:'s classic score for 2004: 1964:In 1957, Kid Baltan ( 1627: 1471: 1458:Louis and Bebe Barron 1379:Further information: 1369:Bebe and Louis Barron 1329:was a success at the 1284:Institute of Sonology 1280:University of Utrecht 1235:. In his 1949 thesis 1209:Karlheinz Stockhausen 1162:Karlheinz Stockhausen 1156: 1087:Cinq études de bruits 934:Electroacoustic music 932:Further information: 919:from the late 1930s. 837:Recording experiments 803:Avant-garde composers 756: 665: 599:, drum machines, and 558:Karlheinz Stockhausen 503:electronic oscillator 499:electroacoustic music 244:Electroacoustic music 13877:Hyperpop microgenres 12541:Contemporary R&B 11815:26 June 2010 at the 11806:at Wikimedia Commons 11662:Tyson, Jeff (n.d.), 11399:, Forward [ 11379:The Music of My Time 11146:. London: Macmillan. 11076:Crab, Simon (2005), 10850:Kraftwerk: Biography 10435:Santa Clara Magazine 10231:Ozab, David (2000), 10192:on 11 September 2008 10142:(at webcitation.org) 9667:Frankenstein, Alfred 8839:. 21 September 2023. 8316:on 13 September 2019 7656:(9 September 2020). 7568:www.soundonsound.com 7272:"Donca-Matic (1963)" 7257:. 22 September 2016. 6243:, pp. 106, 115. 5987:The Forbidden Planet 4868:and City of Angels ( 4804:Ultra Music Festival 4504:factual accuracy is 4158:frequency modulation 4147:(FM synthesis) from 4109:Digital synthesizers 4056:, playing live with 4044:Released in 1970 by 3866:Elektronmusikstudion 3696:with their 1981 hit 3590:eponymous 1977 album 3456:Trans-Europe Express 3326:, using DJ-inspired 3217:Best Classical Album 3153:Tomorrow Never Knows 2918:(introduced in 1972) 2863:Drum machine#History 2749:Japanese instruments 2678:for orchestra, four 2610:musique stochastique 2574:improve this section 2485:Christopher Strachey 1957:with subassembly by 1940:Gesang der Jünglinge 1693:confusing or unclear 1666:Christopher Strachey 1526:Vyacheslav Mescherin 1387:Vladimir Ussachevsky 1270:in Tokyo founded by 1227:, Robert Beyer, and 1186:Vladimir Ussachevsky 1118:. "Schaeffer used a 962:, used a cumbersome 854:electrical recording 852:The introduction of 847:push VMon. ograph 843:recording technology 764:Developments of the 679:emerging electronics 629:digital synthesizers 90:Early 20th century, 31:For other uses, see 13487:Mainstream hardcore 12861:Chopped and screwed 12250:Elektronische Musik 12204:List of rock genres 12135:-based music styles 11613:Sicko, Dan (1999), 11579:, London: Phaidon, 11040:Bush, John (2009), 11017:on 14 November 2011 11007:"Tomita: Biography" 10741:Young, Rob (2007), 10729:, Gamemusic4all.com 10395:, New York: Praeger 10169:, London: Macmillan 9290:on 18 February 2009 9082:, pp. 111–113. 8945:The Huffington Post 8787:Sound International 8642:Stanford University 8618:on 12 October 2009. 8601:, pp. 258–259. 8577:, pp. 257–258. 8176:D. Nobakht (2004), 8068:The Daily Telegraph 7286:on 3 September 2005 7234:The Drum: A History 6984:Cosey Fanni Tutti. 6913:. 13 September 2016 6887:. 26 September 2016 6867:on 18 January 2012. 6560:, pp. 164–165. 6411:, pp. 145–146. 6282:, pp. 106–107. 5918:Robert Rauschenberg 5686:, pp. 156–157. 4991:musical performance 4734:Rise of dance music 4729:Late 1980s to 1990s 4616:Hiroshima Mon Amour 4404:Sequential Circuits 4364:, re-licensed from 4215:synthesizer in the 4153:Stanford University 4115:Digital synthesizer 4077:Fünf deutsche Tänze 4028:Modular synthesizer 3999:Synthetic Performer 3850:The Final Countdown 3674:A Flock of Seagulls 3003:Lee "Scratch" Perry 2891:Roland synthesizers 2861:filed in 1964 (See 2660:In Europe in 1964, 2470:Colonel Bogey March 2388:Jean-Jacques Perrey 2143:Modular synthesizer 2071:Charles Amirkhanian 2057:Leiyla and the Poet 2041:Leiyla and the Poet 1994:composer, composed 1984:Brussels World Fair 1787:in 1946, composers 1701:clarify the section 1645:Colonel Bogey March 1397:Columbia University 1241:elektronische Musik 1225:Werner Meyer-Eppler 1109:Columbia University 982:in the late 1950s. 885:, such as those by 668:Scientific American 41:Electronic Musician 13696:Kawaii future bass 13676:Deconstructed club 12829:Breakbeat hardcore 12721:Martial industrial 12711:Industrial hip hop 12592:Ethnic electronica 12575:Electro-industrial 11898:Experimental music 11715:on 10 January 2008 11573:Shanken, Edward A. 11509:The New York Times 11428:, no. 2 April 11356:Grove Music Online 11257:, New edition 2001 11208:on 31 January 2010 11046:, Allmusic website 10893:Anonymous (2007), 10869:Anonymous (2001), 10649:on 30 January 2010 10376:on 4 November 2013 10276:Rhea, Tom (1980), 9999:, Da Capo Press., 9728:12, no. 3:203–211. 9675:(Excerpt exist on 9661:, no. 17 June 9423:Dover Publications 9295:Anonymous (2010), 9280:Anonymous (2009), 9268:on 8 February 2013 9254:Anonymous (2006), 9239:Anonymous (1979), 9227:Anonymous (1972), 9204:, CBC News website 8942:by Kia Makarechi, 8789:(33–40): 147. 1981 8460:on 17 April 2012. 8428:on 4 November 2013 8234:on 13 January 2012 8215:The Age of Plastic 7886:, pp. 1330–1. 7231:Matt Dean (2011), 6859:Doornbusch, Paul. 6775:on 7 November 2017 6607:"Electronic music" 6141:Yamaha Magna Organ 5605:, pp. 4 and 7 5085:Electronic sackbut 4983: 4932:the Postal Service 4870:the Crystal Method 4830:independent labels 4628:Roland Corporation 4320: 4265:musical instrument 4186: 4024: 3964: 3881: 3719:The definition of 3717: 3652:featured on their 3511:A Clockwork Orange 3250: 3213:1970 Grammy Awards 3015:experimental music 2966:Jamaican dub music 2920: 2887:Roland Corporation 2806: 2767: 2493:Ba, Ba Black Sheep 2378:Poeme Electronique 2256: 2111:Bernard Parmegiani 2077:to rock musicians 2047:of electronic and 2009: 1986:. That same year, 1979:Poème électronique 1875:, tape recorders, 1769:Yamaha Magna Organ 1759:Yamaha Magna Organ 1633: 1591:Alexander Zatsepin 1497:A. Rimsky-Korsakov 1477: 1266:, a studio at the 1159: 1091:disc cutting lathe 797:string instruments 789:Joseph Schillinger 762: 749:Early compositions 698:telephone networks 675: 495:personal computers 485:, circuitry-based 231:Experimental forms 202:experimental music 18:Electronic (music) 14269:Audio engineering 14221: 14220: 14217: 14216: 14145:Data sonification 13895: 13894: 13882:Plugg microgenres 13867:Breakcore revival 13832:Slowed and reverb 13512:Post-punk revival 13213:Progressive house 13132:Industrial techno 12804:Asian underground 12736:Power electronics 12512:Alternative dance 12371:Afro/cosmic music 12326:Psychedelic music 12099: 12098: 11802:Media related to 11769:Library resources 11734:978-0-02-872830-8 11656:978-0-697-03602-5 11636:Tomita: Biography 11586:978-0-7148-4782-5 11412:978-0-7475-4213-1 11388:978-0-912483-99-3 11136:978-0-415-89080-9 11122:, Vienna: Boehlau 11111:978-0-9784892-1-2 10954:978-3-85450-422-1 10842: 10841: 10834: 10716:978-1-57647-079-4 10629:Richard Boulanger 10577:978-1-5013-1451-3 10416:on 3 January 2017 10389:Schwartz, Elliott 10350:978-0-240-52105-3 10332:978-0-19-537324-0 9972:978-0-240-52072-8 9886:978-0-203-12842-8 9878:978-0-415-89636-8 9867:978-0-415-89646-7 9846:978-0-415-95781-6 9620:, Richardhess.com 9603:978-0-7546-5546-6 9560:The Musical Times 9367:978-0-12-084735-8 9322:on 10 March 2011) 9094:, pp. 80–81. 9028:Magnetic Magazine 8973:978-0-8400-2976-8 8855:Dancing Astronaut 8365:(28 April 2019), 8187:978-0-946719-71-6 8097:. 27 January 2013 8071:. London, England 7931:978-1-85242-382-7 7874:, pp. 15–17. 7824:978-0-571-27191-7 7790:978-1-5275-0940-5 7468:978-0-8195-7442-8 7324:Ikutaro Kakehashi 7144:978-1-135-94963-1 7099:978-4-924360-01-3 7019:978-0-19-005347-5 6990:Throbbing Gristle 6662:, pp. 41–48. 6648:Frankenstein 1964 6572:, pp. 55–62. 6309:, pp. 66–67. 6255:, pp. 64–66. 6209:). October 1935. 6198:新電氣樂器マグナオルガンの御紹介 5775:, pp. 75–76. 5577:978-1-135-95018-7 5370:, pp. 35–36. 4549:bass synthesizers 4545: 4544: 4537: 4204:(DCO) per voice. 4085:(1975–1976), and 3912:Reinbert de Leeuw 3699:Don't You Want Me 3669:Speak & Spell 3614:self-titled album 3414:Jean Michel Jarre 3164:Beaver and Krause 2960:hip hop musicians 2845:Ikutaro Kakehashi 2814:Donca-Matic DA-20 2779:Ikutaro Kakehashi 2743:LIVE Quadraphonic 2721:Cosey Fanni Tutti 2602: 2601: 2594: 2357:and composition. 2023:, Halim El-Dabh, 1927:Bell Laboratories 1895:Mid-to-late 1950s 1881:band-pass filters 1816:Yasushi Akutagawa 1733: 1732: 1725: 1660:Machine from the 1583:Vladimir Martynov 1575:Sofia Gubaidulina 1425:Leopold Stokowski 1395:In the same year 811:Dimitrios Levidis 742:The Art of Noises 681:led to the first 581:Moog synthesizers 472: 471: 219: 218: 187:Avant-garde music 68:Stylistic origins 16:(Redirected from 14286: 14234:Electronic music 14117:Video game music 13966:Acid house party 13904: 13903: 13851:Weird SoundCloud 13738:Melbourne bounce 13556:Shangaan electro 13117:Harsh noise wall 12876:Digital hardcore 12716:Industrial metal 12336:Psychedelic rock 12331:Psychedelic funk 12321:Progressive rock 12255:Live electronics 12238:Musique concrète 12233:Acousmatic music 12179:Amplified guitar 12169: 12168: 12164:decade of origin 12126: 12119: 12112: 12103: 12102: 11945: 11933:Octophonic sound 11923:Musique concrète 11863: 11856: 11849: 11840: 11839: 11804:Electronic music 11801: 11774:Electronic music 11757: 11737: 11716: 11699: 11698: 11696: 11676: 11675: 11673: 11643: 11629: 11609: 11589: 11568: 11548: 11531: 11523: 11511: 11490: 11472: 11451: 11450: 11448: 11429: 11416: 11391: 11370: 11367: 11366: 11364: 11351:"Ondes martenot" 11345:Orton, Richard; 11341: 11330: 11319: 11294: 11276: 11258: 11236: 11216: 11215: 11213: 11190: 11165: 11147: 11123: 11114: 11096: 11095: 11093: 11062: 11047: 11036: 11025: 11024: 11022: 11013:, archived from 11000: 10978: 10958: 10936: 10935: 10933: 10923:DMA dissertation 10913: 10912: 10910: 10888: 10887: 10885: 10865: 10854: 10837: 10830: 10826: 10823: 10817: 10812:Please read the 10808:may need cleanup 10797: 10796: 10789: 10779: 10763: 10762: 10760: 10755:(March 2007): 24 10737: 10736: 10734: 10719: 10705:Formalized Music 10695: 10677: 10676: 10674: 10657: 10656: 10654: 10645:, archived from 10616: 10598: 10580: 10559: 10543: 10525: 10502: 10476: 10461: 10456:, archived from 10446: 10445: 10443: 10424: 10423: 10421: 10415: 10409:, archived from 10408: 10396: 10393:Electronic Music 10384: 10383: 10381: 10362: 10353: 10335: 10314: 10292: 10291: 10289: 10272: 10245: 10244: 10242: 10227: 10209: 10200: 10199: 10197: 10191: 10180: 10170: 10161: 10141: 10136:, Allmusic.com, 10126: 10085: 10084: 10082: 10073:, archived from 10039: 10009: 9998: 9989:Lebrecht, Norman 9984: 9975: 9950: 9935:. 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Ivanov — 1505: 1453:Forbidden Planet 1437:Fantasy in Space 1413:Underwater Valse 1272:Toshiro Mayuzumi 1245:musique concrète 1101:, began work on 1059:Pierre Schaeffer 1033:Pierre Schaeffer 1029: 1018:Pierre Schaeffer 1010: 998:Acousmatic music 992:Musique concrète 986:Musique concrète 815:Olivier Messiaen 727:began composing 709:microtonal music 705:Ferruccio Busoni 597:electronic drums 573:live electronics 554:Musique concrète 519:power amplifiers 515:magnetic pickups 487:music technology 475:Electronic music 464: 457: 450: 436:Video game music 262:Industrial music 250:Musique concrète 225:Electronic music 221: 220: 102:Derivative forms 87:Cultural origins 53:Electronic music 50: 49: 45: 36: 21: 14294: 14293: 14289: 14288: 14287: 14285: 14284: 14283: 14224: 14223: 14222: 14213: 14128: 14065:Chill-out music 14043: 13891: 13855: 13624: 13335: 13198:Nu skool breaks 12782: 12495: 12430:Industrial rock 12359: 12301:Electronic rock 12274: 12189:Hawaiian guitar 12162: 12153: 12136: 12130: 12100: 12095: 12053: 12047: 11978: 11972: 11946: 11937: 11903:Hyperinstrument 11888:Circuit bending 11876: 11867: 11834:Wayback Machine 11817:Wayback Machine 11794: 11793: 11792: 11777: 11776: 11772: 11765: 11760: 11755: 11740: 11735: 11719: 11702: 11694: 11692: 11679: 11671: 11669: 11661: 11632: 11627: 11612: 11607: 11592: 11587: 11571: 11566: 11551: 11546: 11533: 11525: 11514: 11502: 11488: 11474: 11470: 11456:Reynolds, Simon 11454: 11446: 11444: 11432: 11419: 11413: 11394: 11389: 11373: 11368: 11362: 11360: 11344: 11339: 11322: 11297: 11292: 11279: 11274: 11261: 11255: 11239: 11234: 11219: 11211: 11209: 11193: 11188: 11170:Griffiths, Paul 11168: 11163: 11150: 11141: 11117: 11112: 11099: 11091: 11089: 11088:on 22 July 2011 11075: 11050: 11039: 11028: 11020: 11018: 11004: 10998: 10981: 10976: 10961: 10955: 10939: 10931: 10929: 10916: 10908: 10906: 10892: 10883: 10881: 10868: 10857: 10846: 10838: 10827: 10821: 10818: 10811: 10804:Further reading 10798: 10794: 10787: 10785:Further reading 10782: 10758: 10756: 10732: 10730: 10717: 10700:Xenakis, Iannis 10693: 10672: 10670: 10652: 10650: 10643: 10614: 10596: 10578: 10557: 10545: 10541: 10522: 10499: 10489:Texte zur Musik 10485:Dieter Schnebel 10441: 10439: 10419: 10417: 10413: 10406: 10379: 10377: 10351: 10333: 10313:, (cloth) (pbk) 10311: 10287: 10285: 10261:10.2307/3680939 10240: 10238: 10225: 10195: 10193: 10189: 10178: 10160:, (cloth) (pbk) 10158: 10108:10.2307/3392376 10080: 10078: 10077:on 24 June 2017 10063:10.2307/3679656 10029:10.2307/3681132 10007: 9973: 9947: 9908: 9868: 9847: 9830:, (cloth) (pbk) 9828: 9807: 9805: 9756:Organised Sound 9747: 9726:Organised Sound 9686:Organised Sound 9644: 9642: 9638: 9623: 9621: 9617: 9606:, (cloth) (pbk) 9604: 9536: 9454:Organised Sound 9442: 9380:Wayback Machine 9368: 9312: 9310: 9271: 9269: 9229: 9222:(August): 27–33 9207: 9205: 9178: 9173: 9172: 9162: 9160: 9150: 9146: 9142:, pp. 5–6. 9138: 9134: 9126: 9122: 9114: 9110: 9102: 9098: 9090: 9086: 9078: 9074: 9064: 9062: 9054: 9053: 9042: 9032: 9030: 9020: 9013: 9006: 8988: 8981: 8974: 8956: 8952: 8938: 8934: 8923: 8919: 8900: 8896: 8872: 8866: 8862: 8849: 8848: 8844: 8833:"Electric Area" 8831: 8830: 8826: 8818: 8814: 8806: 8802: 8792: 8790: 8781: 8780: 8776: 8763: 8759: 8751: 8747: 8739: 8732: 8724: 8720: 8710: 8706: 8698: 8694: 8685:Wayback Machine 8672: 8668: 8654: 8652: 8648: 8633: 8627: 8623: 8610: 8609: 8605: 8597: 8593: 8585: 8581: 8573: 8569: 8561: 8557: 8549: 8542: 8534: 8530: 8518: 8514: 8502: 8498: 8489: 8485: 8477: 8473: 8446: 8442: 8431: 8429: 8420: 8416: 8412: 8405: 8391: 8387: 8378: 8376: 8360: 8356: 8348: 8344: 8336: 8329: 8319: 8317: 8302: 8301: 8297: 8287: 8285: 8277: 8276: 8272: 8251: 8247: 8237: 8235: 8226: 8225: 8221: 8212: 8208: 8201: 8194: 8188: 8180:, p. 136, 8174: 8170: 8160: 8158: 8149: 8148: 8144: 8136: 8132: 8122: 8120: 8115: 8114: 8110: 8100: 8098: 8089: 8088: 8084: 8074: 8072: 8059: 8055: 8048: 8034: 8030: 8017: 8010: 7999: 7992: 7977: 7973: 7963: 7961: 7959: 7943: 7939: 7932: 7909: 7905: 7897: 7890: 7882: 7878: 7870: 7866: 7856: 7854: 7843: 7839: 7829: 7827: 7825: 7809: 7805: 7795: 7793: 7791: 7783:. p. 112. 7771: 7767: 7753: 7751: 7740: 7736: 7722: 7720: 7709: 7705: 7695: 7693: 7682: 7678: 7668: 7666: 7654:Alexis Petridis 7651: 7647: 7637: 7635: 7625: 7621: 7611: 7609: 7598: 7594: 7586: 7582: 7572: 7570: 7562: 7561: 7557: 7543: 7539: 7524: 7520: 7505: 7498: 7483: 7476: 7469: 7451: 7444: 7430: 7426: 7416: 7414: 7403: 7402: 7398: 7383: 7372: 7365:, 21 May 1977, 7359: 7355: 7340: 7336: 7329: 7317: 7313: 7304: 7303: 7299: 7289: 7287: 7270: 7269: 7262: 7253: 7252: 7245: 7240:Scarecrow Press 7230: 7226: 7217: 7215: 7202: 7189: 7177: 7168: 7145: 7127: 7123: 7100: 7087: 7086: 7082: 7065: 7064: 7060: 7050: 7048: 7031: 7027: 7020: 7006: 7002: 6983: 6979: 6966: 6962: 6954: 6950: 6942: 6938: 6930: 6926: 6916: 6914: 6911:British Library 6905: 6904: 6900: 6890: 6888: 6877: 6876: 6872: 6857: 6853: 6827:Organised Sound 6818: 6814: 6804: 6802: 6800:MuSA Conference 6792: 6788: 6778: 6776: 6763: 6762: 6758: 6745: 6744: 6740: 6732: 6728: 6720: 6716: 6710:Hertelendy 2008 6708: 6704: 6700:, January 1977. 6693: 6689: 6683:Wayback Machine 6674:, p. 208, 6670: 6666: 6658: 6654: 6646: 6639: 6629: 6625: 6615: 6613: 6611:didierdanse.net 6605: 6604: 6600: 6594:Bayly 1982–1983 6592: 6588: 6580: 6576: 6568: 6564: 6556: 6552: 6544: 6540: 6539: 6535: 6527: 6523: 6522: 6518: 6505: 6501: 6492: 6491: 6487: 6479: 6475: 6467: 6463: 6455: 6451: 6443: 6439: 6431: 6427: 6419: 6415: 6407: 6403: 6395: 6391: 6383: 6379: 6371: 6367: 6359: 6355: 6347: 6343: 6335: 6328: 6320: 6313: 6305: 6301: 6293: 6286: 6278: 6274: 6266: 6259: 6251: 6247: 6239: 6235: 6227: 6220: 6216: 6199: 6195: 6186: 6184: 6171: 6167: 6127: 6120: 6113: 6106: 6100:Doornbusch 2005 6098: 6094: 6086: 6082: 6076:Wayback Machine 6060: 6056: 6048: 6037: 6029: 6025: 6019:Wayback Machine 6010: 5997: 5984: 5980: 5972: 5968: 5960: 5945: 5937: 5928: 5911: 5907: 5899: 5895: 5887: 5883: 5875: 5871: 5867:, p. 145). 5856: 5852: 5844: 5840: 5831: 5827: 5819: 5815: 5807: 5803: 5795: 5791: 5783: 5779: 5771: 5764: 5756: 5752: 5744: 5740: 5732: 5728: 5724:, p. 122). 5719: 5715: 5711:, p. 107). 5706: 5702: 5694: 5690: 5682: 5678: 5670: 5663: 5655: 5651: 5640: 5636: 5628: 5624: 5613: 5609: 5601: 5597: 5589: 5585: 5578: 5562: 5558: 5550: 5546: 5538: 5534: 5526: 5522: 5514: 5510: 5502: 5498: 5490: 5486: 5478: 5474: 5466: 5462: 5454: 5450: 5432: 5428: 5420: 5411: 5403: 5399: 5391: 5387: 5378: 5374: 5366: 5362: 5354: 5350: 5342: 5338: 5322: 5318: 5310: 5306: 5273: 5269: 5259: 5257: 5249: 5248: 5244: 5240:, p. 106). 5231: 5227: 5209: 5205: 5192: 5188: 5179: 5178: 5174: 5167: 5149: 5145: 5140: 5070: 5065: 5063: 5060: 5048: 5040:Circuit bending 5037: 5035:Circuit bending 4964: 4962:2000s and 2010s 4884: 4878: 4812: 4742: 4736: 4731: 4680: 4674: 4668: 4569:Charanjit Singh 4563:, particularly 4541: 4530: 4524: 4521: 4510: 4502:This article's 4498: 4494: 4487: 4481:Music sequencer 4479:Main articles: 4477: 4449:Miller Puckette 4395: 4389: 4340:Peter Zinovieff 4257: 4243: 4137: 4111: 4103:cable spaguetty 4091:Pulse Music III 4054:Patrick Gleeson 4042: 4016: 3984:flute sonatas, 3920:Michel Waisvisz 3908:Jan van Vlijmen 3904:Dick Raaymakers 3863: 3785:Peter Schilling 3729:audio engineers 3556:Giorgio Moroder 3462:The Man-Machine 3314:electronic rock 3282:Tangerine Dream 3176:Fifty Foot Hose 3109: 3091: 3073:Electronic rock 3071:Main articles: 3069: 3064: 2980: 2974: 2968: 2912: 2856: 2830:Yamaha Electone 2822:Nippon Columbia 2751: 2717:] concept. 2709:aleatoric music 2701:circuit bending 2684:ring modulators 2658: 2652: 2598: 2587: 2581: 2578: 2571: 2559: 2555: 2548: 2446: 2436: 2430: 2422:Sarabhai family 2241:Peter Zinovieff 2153: 2131: 1966:Dick Raaymakers 1953:synthesizer by 1897: 1877:ring modulators 1808:electroacoustic 1765: 1764: 1763: 1762: 1755: 1754: 1753: 1745: 1744: 1729: 1718: 1712: 1709: 1698: 1685: 1681: 1674: 1654:Ferranti Mark 1 1622: 1562: 1556:Eduard Artemyev 1549:ANS synthesizer 1532: 1519:Arseny Avraamov 1510: 1499: 1481:Nikolai Obukhov 1473:ANS synthesizer 1466: 1393: 1383: 1377: 1363:Cage completed 1350:Christian Wolff 1338:New York School 1311: 1151: 1047: 1046: 1045: 1044: 1043: 1035:presenting the 1030: 1022: 1021: 1020:et al. at GRMC 1011: 1000: 994: 988: 940: 930: 925: 899:Walter Ruttmann 891:Kurt Schwitters 858:Paul, Hindemith 839: 751: 694:streaming music 660: 547:electroacoustic 539:electric guitar 468: 246: 46: 37: 30: 28: 23: 22: 15: 12: 11: 5: 14292: 14282: 14281: 14276: 14271: 14266: 14261: 14256: 14251: 14246: 14241: 14236: 14219: 14218: 14215: 14214: 14212: 14211: 14206: 14201: 14196: 14191: 14186: 14185: 14184: 14179: 14174: 14164: 14163: 14162: 14152: 14147: 14142: 14136: 14134: 14130: 14129: 14127: 14126: 14125: 14124: 14122:Adaptive music 14114: 14109: 14104: 14099: 14094: 14089: 14084: 14079: 14074: 14073: 14072: 14062: 14057: 14051: 14049: 14045: 14044: 14042: 14041: 14040: 14039: 14034: 14024: 14023: 14022: 14017: 14012: 14010:Plunderphonics 14002: 13997: 13996: 13995: 13994: 13993: 13983: 13978: 13973: 13968: 13958: 13953: 13948: 13943: 13942: 13941: 13936: 13931: 13921: 13916: 13910: 13908: 13901: 13897: 13896: 13893: 13892: 13890: 13889: 13884: 13879: 13874: 13869: 13863: 13861: 13857: 13856: 13854: 13853: 13848: 13847: 13846: 13836: 13835: 13834: 13829: 13824: 13814: 13812:Tropical house 13809: 13804: 13799: 13794: 13789: 13788: 13787: 13785:Riddim (genre) 13782: 13772: 13767: 13765:Outsider house 13762: 13757: 13756: 13755: 13750: 13740: 13735: 13730: 13725: 13720: 13715: 13710: 13705: 13700: 13699: 13698: 13688: 13683: 13678: 13673: 13668: 13666:Brazilian bass 13663: 13658: 13656:Big room house 13653: 13648: 13643: 13638: 13632: 13630: 13626: 13625: 13623: 13622: 13617: 13612: 13607: 13605:Vocaloid music 13602: 13601: 13600: 13590: 13585: 13580: 13575: 13574: 13573: 13563: 13558: 13553: 13548: 13543: 13542: 13541: 13536: 13526: 13521: 13520: 13519: 13509: 13504: 13499: 13494: 13489: 13484: 13479: 13474: 13469: 13468: 13467: 13462: 13455:Hypnagogic pop 13452: 13447: 13446: 13445: 13435: 13430: 13425: 13424: 13423: 13418: 13413: 13403: 13402: 13401: 13391: 13386: 13385: 13384: 13374: 13369: 13364: 13359: 13354: 13349: 13343: 13341: 13337: 13336: 13334: 13333: 13332: 13331: 13326: 13316: 13315: 13314: 13309: 13304: 13294: 13293: 13292: 13287: 13282: 13277: 13272: 13267: 13262: 13257: 13252: 13247: 13242: 13232: 13231: 13230: 13220: 13215: 13210: 13205: 13200: 13195: 13190: 13189: 13188: 13178: 13177: 13176: 13169:Minimal techno 13166: 13161: 13156: 13151: 13146: 13145: 13144: 13142:Drill 'n' bass 13134: 13129: 13124: 13119: 13114: 13113: 13112: 13107: 13102: 13097: 13096: 13095: 13093:Lento violento 13085: 13080: 13075: 13070: 13065: 13060: 13058:Belgian techno 13050: 13045: 13044: 13043: 13038: 13028: 13023: 13018: 13017: 13016: 13006: 13001: 12996: 12991: 12986: 12985: 12984: 12983: 12982: 12977: 12972: 12967: 12959: 12958: 12957: 12947: 12946: 12945: 12940: 12935: 12930: 12917: 12916: 12915: 12910: 12905: 12895: 12894: 12893: 12883: 12878: 12873: 12868: 12863: 12858: 12853: 12848: 12847: 12846: 12844:Toytown techno 12841: 12839:Happy hardcore 12836: 12826: 12821: 12816: 12811: 12809:Baltimore club 12806: 12801: 12799:Ambient techno 12796: 12790: 12788: 12784: 12783: 12781: 12780: 12775: 12774: 12773: 12771:Detroit techno 12768: 12763: 12753: 12748: 12743: 12738: 12733: 12728: 12723: 12718: 12713: 12708: 12707: 12706: 12701: 12696: 12691: 12686: 12681: 12676: 12671: 12666: 12661: 12656: 12651: 12646: 12636: 12631: 12626: 12621: 12620: 12619: 12614: 12609: 12604: 12599: 12589: 12584: 12583: 12582: 12572: 12571: 12570: 12560: 12555: 12550: 12549: 12548: 12546:New jack swing 12538: 12537: 12536: 12534:Florida breaks 12526: 12521: 12520: 12519: 12509: 12503: 12501: 12497: 12496: 12494: 12493: 12488: 12483: 12482: 12481: 12476: 12471: 12461: 12460: 12459: 12454: 12449: 12439: 12434: 12433: 12432: 12422: 12421: 12420: 12410: 12405: 12400: 12395: 12390: 12385: 12380: 12379: 12378: 12367: 12365: 12361: 12360: 12358: 12357: 12356: 12355: 12345: 12344: 12343: 12338: 12333: 12323: 12318: 12313: 12308: 12303: 12298: 12293: 12288: 12282: 12280: 12276: 12275: 12273: 12272: 12267: 12262: 12257: 12252: 12247: 12246: 12245: 12240: 12235: 12225: 12223:Computer music 12220: 12215: 12214: 12213: 12208: 12207: 12206: 12196: 12191: 12186: 12184:Electric blues 12175: 12173: 12166: 12155: 12154: 12141: 12138: 12137: 12129: 12128: 12121: 12114: 12106: 12097: 12096: 12094: 12093: 12088: 12083: 12081:Studio d'Essai 12078: 12073: 12068: 12063: 12057: 12055: 12049: 12048: 12046: 12045: 12039: 12033: 12028: 12023: 12018: 12013: 12008: 12003: 11998: 11993: 11988: 11982: 11980: 11974: 11973: 11971: 11970: 11965: 11960: 11954: 11952: 11948: 11947: 11940: 11938: 11936: 11935: 11930: 11925: 11920: 11915: 11910: 11905: 11900: 11895: 11893:Computer music 11890: 11884: 11882: 11878: 11877: 11866: 11865: 11858: 11851: 11843: 11837: 11836: 11824: 11819: 11807: 11791: 11790: 11785: 11779: 11778: 11767: 11766: 11764: 11763:External links 11761: 11759: 11758: 11753: 11738: 11733: 11717: 11700: 11677: 11659: 11644: 11630: 11625: 11610: 11605: 11590: 11585: 11569: 11564: 11549: 11544: 11516:Russolo, Luigi 11512: 11500: 11486: 11468: 11452: 11440:Sound on Sound 11430: 11417: 11411: 11392: 11387: 11371: 11342: 11337: 11320: 11295: 11290: 11277: 11272: 11259: 11253: 11237: 11232: 11217: 11191: 11186: 11166: 11161: 11148: 11139: 11124: 11115: 11110: 11097: 11073: 11063: 11048: 11037: 11035:, Allmusic.com 11026: 11002: 10996: 10979: 10974: 10959: 10953: 10937: 10914: 10905:on 14 May 2013 10890: 10866: 10864:, Allmusic.com 10855: 10853:, Allmusic.com 10843: 10840: 10839: 10801: 10799: 10792: 10786: 10783: 10781: 10780: 10765: 10738: 10720: 10715: 10696: 10691: 10678: 10658: 10641: 10617: 10612: 10599: 10594: 10581: 10576: 10560: 10555: 10539: 10526: 10520: 10503: 10497: 10477: 10462: 10460:on 15 May 2008 10447: 10425: 10397: 10385: 10363: 10354: 10349: 10336: 10331: 10315: 10309: 10293: 10273: 10246: 10228: 10223: 10210: 10201: 10171: 10162: 10156: 10143: 10127: 10086: 10040: 10010: 10005: 9985: 9976: 9971: 9951: 9945: 9928: 9911: 9906: 9889: 9866: 9851: 9845: 9832: 9826: 9813: 9804:on 7 July 2011 9791: 9789:, Allmusic.com 9780: 9763:(2): 163–180, 9750: 9745: 9730: 9721: 9710: 9680: 9663: 9650: 9629: 9608: 9602: 9589: 9573:10.2307/954658 9554: 9539: 9534: 9521: 9493: 9478: 9445: 9440: 9427: 9402: 9387: 9373:Online reprint 9366: 9353: 9342:10.2307/832872 9323: 9292: 9277: 9251: 9236: 9230:Liner notes to 9224: 9219:Audio Magazine 9213: 9195: 9179: 9177: 9174: 9171: 9170: 9144: 9132: 9128:Anonymous 2009 9120: 9108: 9106:, p. 115. 9096: 9084: 9072: 9040: 9011: 9004: 8979: 8972: 8950: 8932: 8917: 8894: 8860: 8842: 8824: 8812: 8800: 8774: 8757: 8753:Anonymous 1979 8745: 8730: 8718: 8704: 8702:, p. 227. 8692: 8666: 8621: 8603: 8591: 8589:, p. 226. 8579: 8567: 8555: 8553:, p. 257. 8540: 8528: 8512: 8496: 8492:Montanaro 2004 8483: 8471: 8440: 8410: 8403: 8385: 8354: 8342: 8338:Anonymous 2010 8327: 8295: 8270: 8245: 8219: 8206: 8192: 8186: 8168: 8142: 8140:, p. 162. 8130: 8108: 8082: 8053: 8046: 8028: 8008: 7990: 7971: 7957: 7937: 7930: 7917:Ocean of Sound 7903: 7901:, p. 403. 7888: 7876: 7864: 7837: 7823: 7803: 7789: 7765: 7734: 7703: 7676: 7645: 7619: 7606:Sound on Sound 7592: 7590:, p. 468. 7580: 7555: 7537: 7518: 7496: 7474: 7467: 7442: 7424: 7413:. October 2015 7396: 7370: 7353: 7334: 7311: 7297: 7260: 7243: 7224: 7211:Sound on Sound 7187: 7166: 7155: 7143: 7121: 7110: 7098: 7080: 7058: 7025: 7018: 7000: 6992:'s 1986 album 6988:(extract from 6977: 6960: 6948: 6936: 6924: 6898: 6870: 6851: 6812: 6786: 6756: 6738: 6736:, p. 216. 6726: 6724:, p. 457. 6714: 6702: 6687: 6676:online reprint 6664: 6652: 6637: 6623: 6598: 6596:, p. 150. 6586: 6584:, p. 124. 6574: 6562: 6550: 6533: 6516: 6499: 6485: 6483:, p. 286. 6473: 6461: 6459:, p. 207. 6449: 6437: 6435:, p. 153. 6425: 6413: 6401: 6389: 6387:, p. 347. 6377: 6365: 6353: 6351:, p. 108. 6341: 6326: 6311: 6299: 6297:, p. 107. 6284: 6272: 6257: 6245: 6233: 6231:, p. 106. 6218: 6215: 6214: 6193: 6164: 6118: 6104: 6092: 6080: 6067:Новые Известия 6054: 6035: 6023: 5995: 5993:, p. 32). 5978: 5966: 5943: 5926: 5924:, p. 20). 5905: 5893: 5881: 5879:, p. 136. 5869: 5850: 5838: 5825: 5823:, p. 117. 5821:Ungeheuer 1992 5813: 5801: 5799:, p. 349. 5789: 5785:Anonymous 1972 5777: 5762: 5760:, p. 173. 5750: 5738: 5726: 5713: 5700: 5696:Palombini 1993 5688: 5676: 5661: 5649: 5634: 5622: 5607: 5595: 5591:Anonymous 2006 5583: 5576: 5556: 5544: 5532: 5520: 5508: 5506:, "Free lines" 5496: 5484: 5472: 5460: 5448: 5436:, p. 33; 5426: 5409: 5397: 5385: 5372: 5360: 5348: 5336: 5332:Weidenaar 1995 5316: 5304: 5267: 5242: 5225: 5217:audio consoles 5203: 5186: 5172: 5165: 5142: 5141: 5139: 5136: 5135: 5134: 5129: 5123: 5122: 5118: 5117: 5112: 5107: 5105:Spectral music 5102: 5097: 5092: 5087: 5082: 5076: 5075: 5059: 5056: 5047: 5044: 5036: 5033: 5028:microprocessor 4987:music software 4963: 4960: 4912:home recording 4877: 4874: 4828:community and 4811: 4808: 4788:big room house 4754:The Communards 4738:Main article: 4735: 4732: 4730: 4727: 4695:home computers 4670:Main article: 4667: 4664: 4644:Sexual Healing 4600:Osamu Kitajima 4586:microprocessor 4543: 4542: 4501: 4499: 4492: 4476: 4473: 4391:Main article: 4388: 4385: 4242: 4239: 4110: 4107: 4069:EMS Synthi 100 4058:Herbie Hancock 4015: 4012: 4000: 3916:Konrad Boehmer 3862: 3859: 3822:and Spaniards 3803:from Germany, 3793:Modern Talking 3783:from Belgium, 3746:Spandau Ballet 3663:Dreaming of Me 3468:Computer World 3447:or Jarre with 3406:Osamu Kitajima 3147:. In his book 3113:the Beach Boys 3068: 3065: 3063: 3060: 2999:Errol Thompson 2970:Main article: 2967: 2964: 2889:in 1972, with 2826:Korg Mini Pops 2781:, who founded 2775:music industry 2750: 2747: 2695:In 1966–1967, 2689:Mikrophonie II 2654:Main article: 2651: 2648: 2606:Iannis Xenakis 2600: 2599: 2562: 2560: 2553: 2547: 2544: 2522:developed the 2520:Laurie Spiegel 2466:Trevor Pearcey 2434:Computer music 2432:Main article: 2429: 2428:Computer music 2426: 2348:, directed by 2211:, composed by 2130: 2127: 2123:François Bayle 2107:Iannis Xenakis 2017:Milton Babbitt 1988:Mauricio Kagel 1946:Book of Daniel 1915:string quartet 1901:Lejaren Hiller 1896: 1893: 1843:making use of 1789:Toru Takemitsu 1757: 1756: 1747: 1746: 1738: 1737: 1736: 1735: 1734: 1731: 1730: 1688: 1686: 1679: 1673: 1670: 1641:Trevor Pearcey 1621: 1618: 1606:Lithuanian SSR 1485:sounding cross 1483:invented the " 1465: 1462: 1450:The score for 1376: 1373: 1358:Morton Feldman 1310: 1307: 1291:Mauricio Kagel 1229:Herbert Eimert 1150: 1147: 1051:Studio d'Essai 1031: 1024: 1023: 1012: 1005: 1004: 1003: 1002: 1001: 990:Main article: 987: 984: 929: 926: 924: 921: 917:Norman McLaren 883:sound collages 838: 835: 823:Percy Grainger 793:Maria Schuppel 778:ondes Martenot 750: 747: 666:Front page of 659: 656: 631:, such as the 577:music industry 569:computer music 535:electric piano 470: 469: 467: 466: 459: 452: 444: 441: 440: 439: 438: 433: 428: 427: 426: 416: 411: 406: 404:List of genres 401: 396: 391: 386: 378: 377: 373: 372: 371: 370: 365: 360: 355: 350: 345: 340: 335: 330: 325: 320: 315: 310: 305: 300: 295: 290: 285: 277: 276: 275:Popular styles 272: 271: 270: 269: 264: 259: 254: 253: 252: 241: 233: 232: 228: 227: 217: 216: 215: 214: 209: 204: 199: 194: 192:computer music 189: 181: 180: 176: 175: 174: 173: 170: 165: 160: 155: 150: 145: 140: 135: 130: 125: 120: 115: 110: 103: 99: 98: 88: 84: 83: 82: 81: 76: 69: 65: 64: 59: 55: 54: 26: 9: 6: 4: 3: 2: 14291: 14280: 14279:Sound effects 14277: 14275: 14272: 14270: 14267: 14265: 14262: 14260: 14257: 14255: 14252: 14250: 14247: 14245: 14242: 14240: 14237: 14235: 14232: 14231: 14229: 14210: 14207: 14205: 14202: 14200: 14197: 14195: 14192: 14190: 14187: 14183: 14180: 14178: 14175: 14173: 14170: 14169: 14168: 14165: 14161: 14158: 14157: 14156: 14153: 14151: 14148: 14146: 14143: 14141: 14138: 14137: 14135: 14131: 14123: 14120: 14119: 14118: 14115: 14113: 14112:Sound collage 14110: 14108: 14105: 14103: 14100: 14098: 14095: 14093: 14090: 14088: 14085: 14083: 14080: 14078: 14075: 14071: 14068: 14067: 14066: 14063: 14061: 14060:Celtic fusion 14058: 14056: 14053: 14052: 14050: 14046: 14038: 14035: 14033: 14030: 14029: 14028: 14025: 14021: 14018: 14016: 14013: 14011: 14008: 14007: 14006: 14003: 14001: 13998: 13992: 13989: 13988: 13987: 13984: 13982: 13979: 13977: 13974: 13972: 13971:Circuit party 13969: 13967: 13964: 13963: 13962: 13959: 13957: 13954: 13952: 13949: 13947: 13944: 13940: 13937: 13935: 13932: 13930: 13927: 13926: 13925: 13922: 13920: 13917: 13915: 13912: 13911: 13909: 13905: 13902: 13898: 13888: 13885: 13883: 13880: 13878: 13875: 13873: 13870: 13868: 13865: 13864: 13862: 13858: 13852: 13849: 13845: 13842: 13841: 13840: 13837: 13833: 13830: 13828: 13825: 13823: 13820: 13819: 13818: 13815: 13813: 13810: 13808: 13805: 13803: 13800: 13798: 13795: 13793: 13790: 13786: 13783: 13781: 13778: 13777: 13776: 13773: 13771: 13768: 13766: 13763: 13761: 13758: 13754: 13751: 13749: 13746: 13745: 13744: 13741: 13739: 13736: 13734: 13731: 13729: 13726: 13724: 13723:Jungle terror 13721: 13719: 13716: 13714: 13711: 13709: 13706: 13704: 13701: 13697: 13694: 13693: 13692: 13689: 13687: 13684: 13682: 13679: 13677: 13674: 13672: 13669: 13667: 13664: 13662: 13659: 13657: 13654: 13652: 13649: 13647: 13644: 13642: 13639: 13637: 13634: 13633: 13631: 13627: 13621: 13618: 13616: 13613: 13611: 13608: 13606: 13603: 13599: 13596: 13595: 13594: 13591: 13589: 13586: 13584: 13581: 13579: 13576: 13572: 13569: 13568: 13567: 13564: 13562: 13559: 13557: 13554: 13552: 13549: 13547: 13544: 13540: 13537: 13535: 13532: 13531: 13530: 13527: 13525: 13522: 13518: 13515: 13514: 13513: 13510: 13508: 13505: 13503: 13500: 13498: 13495: 13493: 13490: 13488: 13485: 13483: 13480: 13478: 13475: 13473: 13470: 13466: 13463: 13461: 13458: 13457: 13456: 13453: 13451: 13448: 13444: 13441: 13440: 13439: 13436: 13434: 13433:Future garage 13431: 13429: 13428:Electronicore 13426: 13422: 13419: 13417: 13414: 13412: 13409: 13408: 13407: 13406:Electro house 13404: 13400: 13397: 13396: 13395: 13392: 13390: 13389:Dancehall pop 13387: 13383: 13380: 13379: 13378: 13375: 13373: 13370: 13368: 13365: 13363: 13360: 13358: 13355: 13353: 13350: 13348: 13345: 13344: 13342: 13338: 13330: 13327: 13325: 13322: 13321: 13320: 13319:UK hard house 13317: 13313: 13310: 13308: 13305: 13303: 13300: 13299: 13298: 13295: 13291: 13288: 13286: 13283: 13281: 13278: 13276: 13273: 13271: 13268: 13266: 13263: 13261: 13258: 13256: 13253: 13251: 13248: 13246: 13243: 13241: 13238: 13237: 13236: 13233: 13229: 13226: 13225: 13224: 13221: 13219: 13216: 13214: 13211: 13209: 13206: 13204: 13201: 13199: 13196: 13194: 13191: 13187: 13186:Electro swing 13184: 13183: 13182: 13179: 13175: 13172: 13171: 13170: 13167: 13165: 13162: 13160: 13157: 13155: 13152: 13150: 13147: 13143: 13140: 13139: 13138: 13135: 13133: 13130: 13128: 13125: 13123: 13120: 13118: 13115: 13111: 13108: 13106: 13103: 13101: 13098: 13094: 13091: 13090: 13089: 13086: 13084: 13081: 13079: 13076: 13074: 13071: 13069: 13066: 13064: 13063:Bouncy techno 13061: 13059: 13056: 13055: 13054: 13051: 13049: 13046: 13042: 13039: 13037: 13034: 13033: 13032: 13029: 13027: 13024: 13022: 13019: 13015: 13012: 13011: 13010: 13007: 13005: 13002: 13000: 12997: 12995: 12994:Dungeon synth 12992: 12990: 12987: 12981: 12978: 12976: 12973: 12971: 12968: 12966: 12963: 12962: 12960: 12956: 12953: 12952: 12951: 12948: 12944: 12941: 12939: 12936: 12934: 12931: 12929: 12926: 12925: 12923: 12922: 12921: 12920:Drum and bass 12918: 12914: 12911: 12909: 12906: 12904: 12903:Bristol sound 12901: 12900: 12899: 12896: 12892: 12889: 12888: 12887: 12884: 12882: 12879: 12877: 12874: 12872: 12869: 12867: 12864: 12862: 12859: 12857: 12854: 12852: 12849: 12845: 12842: 12840: 12837: 12835: 12832: 12831: 12830: 12827: 12825: 12822: 12820: 12817: 12815: 12812: 12810: 12807: 12805: 12802: 12800: 12797: 12795: 12792: 12791: 12789: 12785: 12779: 12778:Tracker music 12776: 12772: 12769: 12767: 12764: 12762: 12759: 12758: 12757: 12754: 12752: 12749: 12747: 12744: 12742: 12739: 12737: 12734: 12732: 12729: 12727: 12724: 12722: 12719: 12717: 12714: 12712: 12709: 12705: 12702: 12700: 12697: 12695: 12692: 12690: 12687: 12685: 12682: 12680: 12677: 12675: 12672: 12670: 12667: 12665: 12662: 12660: 12657: 12655: 12654:Balearic beat 12652: 12650: 12647: 12645: 12642: 12641: 12640: 12637: 12635: 12632: 12630: 12627: 12625: 12622: 12618: 12615: 12613: 12610: 12608: 12605: 12603: 12600: 12598: 12595: 12594: 12593: 12590: 12588: 12585: 12581: 12578: 12577: 12576: 12573: 12569: 12566: 12565: 12564: 12561: 12559: 12556: 12554: 12551: 12547: 12544: 12543: 12542: 12539: 12535: 12532: 12531: 12530: 12527: 12525: 12522: 12518: 12515: 12514: 12513: 12510: 12508: 12505: 12504: 12502: 12498: 12492: 12489: 12487: 12486:Reggae fusion 12484: 12480: 12477: 12475: 12472: 12470: 12467: 12466: 12465: 12462: 12458: 12455: 12453: 12450: 12448: 12445: 12444: 12443: 12440: 12438: 12435: 12431: 12428: 12427: 12426: 12423: 12419: 12416: 12415: 12414: 12411: 12409: 12406: 12404: 12401: 12399: 12396: 12394: 12391: 12389: 12386: 12384: 12381: 12377: 12374: 12373: 12372: 12369: 12368: 12366: 12362: 12354: 12351: 12350: 12349: 12346: 12342: 12339: 12337: 12334: 12332: 12329: 12328: 12327: 12324: 12322: 12319: 12317: 12316:New-age music 12314: 12312: 12309: 12307: 12304: 12302: 12299: 12297: 12294: 12292: 12289: 12287: 12284: 12283: 12281: 12277: 12271: 12270:Space age pop 12268: 12266: 12263: 12261: 12258: 12256: 12253: 12251: 12248: 12244: 12241: 12239: 12236: 12234: 12231: 12230: 12229: 12226: 12224: 12221: 12219: 12216: 12212: 12211:Western swing 12209: 12205: 12202: 12201: 12200: 12197: 12195: 12192: 12190: 12187: 12185: 12182: 12181: 12180: 12177: 12176: 12174: 12170: 12167: 12165: 12160: 12156: 12152: 12151: 12146: 12145: 12139: 12134: 12127: 12122: 12120: 12115: 12113: 12108: 12107: 12104: 12092: 12089: 12087: 12084: 12082: 12079: 12077: 12074: 12072: 12069: 12067: 12064: 12062: 12059: 12058: 12056: 12054:organizations 12050: 12043: 12040: 12037: 12034: 12032: 12029: 12027: 12024: 12022: 12019: 12017: 12014: 12012: 12009: 12007: 12004: 12002: 11999: 11997: 11994: 11992: 11989: 11987: 11984: 11983: 11981: 11979:organizations 11975: 11969: 11966: 11964: 11961: 11959: 11956: 11955: 11953: 11949: 11944: 11934: 11931: 11929: 11926: 11924: 11921: 11919: 11916: 11914: 11911: 11909: 11906: 11904: 11901: 11899: 11896: 11894: 11891: 11889: 11886: 11885: 11883: 11879: 11875: 11871: 11864: 11859: 11857: 11852: 11850: 11845: 11844: 11841: 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11338:0-19-509887-0 11334: 11329: 11328: 11321: 11318: 11314: 11310: 11306: 11305: 11300: 11299:Ortonng, Otto 11296: 11293: 11291:0-313-31420-9 11287: 11283: 11278: 11275: 11273:1-931140-17-0 11269: 11265: 11260: 11256: 11254:0-262-11243-4 11250: 11246: 11242: 11241:Kahn, Douglas 11238: 11235: 11233:0-8387-5155-5 11229: 11225: 11224: 11218: 11207: 11203: 11202: 11197: 11192: 11189: 11187:0-19-816578-1 11183: 11179: 11175: 11171: 11167: 11164: 11162:0-7546-0109-9 11158: 11154: 11149: 11145: 11140: 11137: 11133: 11129: 11125: 11121: 11116: 11113: 11107: 11103: 11098: 11087: 11083: 11079: 11074: 11072: 11068: 11064: 11061: 11060:Prentice Hall 11057: 11053: 11052:Chadabe, Joel 11049: 11045: 11044: 11038: 11034: 11033: 11027: 11016: 11012: 11011:billboard.com 11008: 11003: 10999: 10997:0-8014-8700-5 10993: 10989: 10985: 10980: 10977: 10975:0-87930-628-9 10971: 10967: 10966: 10960: 10956: 10950: 10946: 10942: 10938: 10928: 10924: 10920: 10915: 10904: 10900: 10896: 10891: 10880: 10878: 10872: 10867: 10863: 10862: 10856: 10852: 10851: 10845: 10844: 10836: 10833: 10825: 10815: 10814:editing guide 10809: 10805: 10800: 10791: 10790: 10777: 10776: 10771: 10766: 10754: 10750: 10749: 10744: 10739: 10728: 10727: 10721: 10718: 10712: 10708: 10706: 10701: 10697: 10694: 10692:0-8108-2692-5 10688: 10684: 10679: 10668: 10664: 10659: 10648: 10644: 10642:0-262-52261-6 10638: 10634: 10630: 10626: 10622: 10621:Vercoe, Barry 10618: 10615: 10613:0-87930-653-X 10609: 10605: 10600: 10597: 10595:3-7957-1891-0 10591: 10587: 10582: 10579: 10573: 10569: 10565: 10561: 10558: 10556:965-90565-0-8 10552: 10548: 10542: 10540:965-90565-0-8 10536: 10532: 10527: 10523: 10521:3-7701-1078-1 10517: 10513: 10509: 10504: 10500: 10498:3-7701-0493-5 10494: 10490: 10486: 10482: 10478: 10474: 10470: 10469: 10463: 10459: 10455: 10454: 10448: 10437: 10436: 10431: 10426: 10412: 10405: 10404: 10398: 10394: 10390: 10386: 10375: 10371: 10370: 10364: 10360: 10355: 10352: 10346: 10342: 10337: 10334: 10328: 10324: 10320: 10319:Roads, Curtis 10316: 10312: 10310:0-262-18158-4 10306: 10302: 10298: 10297:Roads, Curtis 10294: 10283: 10279: 10274: 10270: 10266: 10262: 10258: 10254: 10253: 10247: 10236: 10235: 10229: 10226: 10224:0-7546-0426-8 10220: 10216: 10211: 10207: 10202: 10188: 10184: 10177: 10172: 10168: 10163: 10159: 10157:0-19-514484-8 10153: 10149: 10144: 10139: 10135: 10134: 10128: 10125: 10121: 10117: 10113: 10109: 10105: 10101: 10097: 10096: 10091: 10090:Luening, Otto 10087: 10076: 10072: 10068: 10064: 10060: 10056: 10052: 10051: 10046: 10041: 10038: 10034: 10030: 10026: 10022: 10018: 10017: 10011: 10008: 10006:0-306-80734-3 10002: 9997: 9996: 9990: 9986: 9982: 9977: 9974: 9968: 9964: 9961:, Amsterdam: 9960: 9956: 9955:Jenkins, Mark 9952: 9948: 9946:0-571-14323-7 9942: 9938: 9934: 9929: 9926: 9921: 9917: 9912: 9909: 9907:0-415-93694-2 9903: 9899: 9895: 9890: 9887: 9883: 9879: 9875: 9869: 9863: 9859: 9858: 9852: 9848: 9842: 9838: 9833: 9829: 9827:0-415-93643-8 9823: 9819: 9814: 9803: 9799: 9798: 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9129: 9124: 9117: 9112: 9105: 9104:Emmerson 2007 9100: 9093: 9092:Emmerson 2007 9088: 9081: 9080:Emmerson 2007 9076: 9061: 9057: 9051: 9049: 9047: 9045: 9029: 9025: 9018: 9016: 9007: 9005:0-87930-628-9 9001: 8996: 8995: 8986: 8984: 8975: 8969: 8965: 8961: 8954: 8947: 8946: 8941: 8936: 8930: 8926: 8921: 8915: 8911: 8907: 8903: 8898: 8890: 8886: 8882: 8878: 8871: 8864: 8856: 8852: 8846: 8838: 8834: 8828: 8821: 8820:Blashill 2002 8816: 8809: 8808:Anderson 2008 8804: 8788: 8784: 8778: 8772: 8768: 8767: 8761: 8754: 8749: 8742: 8737: 8735: 8727: 8722: 8715: 8713: 8708: 8701: 8696: 8690: 8686: 8682: 8679: 8677: 8673:Martin Russ, 8670: 8663: 8651:on 5 May 2017 8647: 8643: 8639: 8632: 8625: 8617: 8613: 8607: 8600: 8595: 8588: 8583: 8576: 8571: 8564: 8563:Chowning 1973 8559: 8552: 8547: 8545: 8537: 8532: 8525: 8521: 8516: 8509: 8505: 8500: 8493: 8487: 8480: 8475: 8468: 8466: 8459: 8455: 8451: 8444: 8427: 8423: 8419: 8414: 8406: 8404:91-7024-408-1 8400: 8396: 8389: 8374: 8370: 8369: 8364: 8358: 8352:, p. 66. 8351: 8346: 8339: 8334: 8332: 8315: 8311: 8310: 8305: 8299: 8284: 8280: 8274: 8266: 8262: 8261: 8256: 8249: 8233: 8229: 8223: 8217:1999 reissue. 8216: 8210: 8204: 8203:Maginnis 2011 8199: 8197: 8189: 8183: 8179: 8172: 8157:. 1 June 2020 8156: 8152: 8146: 8139: 8134: 8118: 8112: 8096: 8092: 8086: 8070: 8069: 8064: 8057: 8049: 8047:1-904994-00-8 8043: 8039: 8032: 8026: 8022: 8021: 8015: 8013: 8006: 8002: 7997: 7995: 7988: 7984: 7982: 7975: 7960: 7958:0-634-01788-8 7954: 7950: 7949: 7941: 7933: 7927: 7923: 7919: 7918: 7913: 7907: 7900: 7895: 7893: 7885: 7880: 7873: 7868: 7852: 7848: 7841: 7826: 7820: 7816: 7815: 7807: 7792: 7786: 7782: 7778: 7777: 7769: 7762: 7749: 7745: 7738: 7731: 7718: 7714: 7707: 7691: 7687: 7680: 7665: 7664: 7659: 7655: 7649: 7634: 7630: 7623: 7607: 7603: 7596: 7589: 7584: 7569: 7565: 7559: 7552: 7551: 7546: 7541: 7535: 7531: 7529: 7522: 7516: 7512: 7510: 7503: 7501: 7494: 7490: 7488: 7481: 7479: 7470: 7464: 7460: 7456: 7449: 7447: 7439: 7438: 7433: 7428: 7412: 7411: 7406: 7400: 7394: 7390: 7388: 7381: 7379: 7377: 7375: 7368: 7364: 7363: 7357: 7350: 7346: 7344: 7338: 7325: 7321: 7315: 7307: 7301: 7285: 7281: 7277: 7273: 7267: 7265: 7256: 7250: 7248: 7241: 7237: 7235: 7228: 7213: 7212: 7207: 7200: 7198: 7196: 7194: 7192: 7184: 7182: 7175: 7173: 7171: 7163: 7159: 7153: 7150: 7146: 7140: 7136: 7132: 7125: 7118: 7117:w:ja:ビクトロン#機種 7114: 7108: 7105: 7101: 7095: 7091: 7084: 7076: 7072: 7068: 7062: 7046: 7042: 7041: 7036: 7029: 7021: 7015: 7011: 7004: 6997: 6996: 6991: 6987: 6981: 6974: 6970: 6964: 6957: 6952: 6945: 6940: 6933: 6928: 6912: 6908: 6902: 6886: 6885: 6880: 6874: 6866: 6862: 6855: 6846: 6841: 6837: 6833: 6829: 6828: 6823: 6816: 6801: 6797: 6790: 6774: 6770: 6766: 6760: 6752: 6748: 6742: 6735: 6730: 6723: 6718: 6711: 6706: 6699: 6698:Music Journal 6695: 6691: 6684: 6680: 6677: 6673: 6668: 6661: 6656: 6649: 6644: 6642: 6633: 6627: 6612: 6608: 6602: 6595: 6590: 6583: 6582:Schwartz 1975 6578: 6571: 6566: 6559: 6554: 6543: 6537: 6526: 6520: 6514: 6513: 6508: 6507:Francis Routh 6503: 6495: 6489: 6482: 6477: 6470: 6465: 6458: 6453: 6446: 6441: 6434: 6429: 6423:, p. 64. 6422: 6417: 6410: 6405: 6398: 6393: 6386: 6385:Schwartz 1975 6381: 6374: 6369: 6362: 6357: 6350: 6345: 6339:, p. 65. 6338: 6333: 6331: 6324:, p. 64. 6323: 6318: 6316: 6308: 6303: 6296: 6291: 6289: 6281: 6276: 6270:, p. 66. 6269: 6264: 6262: 6254: 6249: 6242: 6237: 6230: 6225: 6223: 6212: 6208: 6204: 6200: 6194: 6182: 6178: 6177: 6176:Hochi Shimbun 6172: 6166: 6165: 6162: 6158: 6154: 6150: 6146: 6142: 6138: 6134: 6133: 6125: 6123: 6116: 6111: 6109: 6102:, p. 25. 6101: 6096: 6089: 6084: 6077: 6073: 6070: 6068: 6064: 6058: 6051: 6046: 6044: 6042: 6040: 6032: 6027: 6020: 6016: 6013: 6008: 6006: 6004: 6002: 6000: 5992: 5988: 5982: 5976:, p. 49. 5975: 5970: 5964:, p. 48. 5963: 5958: 5956: 5954: 5952: 5950: 5948: 5941:, p. 92. 5940: 5935: 5933: 5931: 5923: 5919: 5915: 5909: 5902: 5897: 5890: 5885: 5878: 5873: 5866: 5862: 5861: 5854: 5847: 5842: 5835: 5834:Lebrecht 1996 5829: 5822: 5817: 5810: 5805: 5798: 5793: 5786: 5781: 5774: 5769: 5767: 5759: 5754: 5748:, p. 23. 5747: 5742: 5735: 5730: 5723: 5717: 5710: 5709:Lebrecht 1996 5704: 5697: 5692: 5685: 5680: 5673: 5668: 5666: 5658: 5653: 5647: 5643: 5638: 5631: 5626: 5619: 5616: 5611: 5604: 5599: 5592: 5587: 5579: 5573: 5570:. Routledge. 5569: 5568: 5560: 5553: 5548: 5541: 5536: 5529: 5524: 5517: 5512: 5505: 5500: 5493: 5488: 5481: 5476: 5469: 5464: 5458:, p. 204 5457: 5452: 5445: 5441: 5435: 5430: 5423: 5418: 5416: 5414: 5406: 5401: 5395:, p. 68. 5394: 5389: 5383:, p. 40. 5382: 5376: 5369: 5364: 5358:, p. 95. 5357: 5352: 5345: 5340: 5333: 5327: 5320: 5313: 5308: 5300: 5296: 5292: 5288: 5284: 5280: 5279: 5271: 5256: 5252: 5246: 5239: 5238:Lebrecht 1996 5235: 5229: 5222: 5218: 5213: 5207: 5200: 5196: 5190: 5182: 5176: 5168: 5162: 5158: 5154: 5147: 5143: 5133: 5130: 5128: 5125: 5124: 5120: 5119: 5116: 5113: 5111: 5110:Tracker music 5108: 5106: 5103: 5101: 5098: 5096: 5093: 5091: 5088: 5086: 5083: 5081: 5078: 5077: 5073: 5062: 5055: 5053: 5043: 5041: 5032: 5029: 5025: 5021: 5016: 5014: 5010: 5006: 5002: 5001: 4997:performance ( 4996: 4992: 4988: 4980: 4976: 4972: 4968: 4959: 4957: 4953: 4949: 4945: 4941: 4937: 4933: 4929: 4925: 4921: 4917: 4913: 4909: 4908:Disco Inferno 4905: 4900: 4898: 4894: 4889: 4883: 4873: 4871: 4867: 4863: 4859: 4855: 4851: 4847: 4843: 4839: 4835: 4831: 4827: 4823: 4822: 4817: 4807: 4805: 4801: 4797: 4793: 4789: 4785: 4781: 4777: 4773: 4769: 4765: 4764: 4757: 4755: 4751: 4747: 4746:Pet Shop Boys 4741: 4726: 4724: 4720: 4716: 4712: 4708: 4704: 4700: 4696: 4691: 4689: 4685: 4679: 4673: 4663: 4661: 4657: 4653: 4649: 4645: 4641: 4637: 4636:drum machines 4633: 4630:released the 4629: 4625: 4621: 4617: 4613: 4609: 4605: 4601: 4597: 4596:Drum machines 4593: 4591: 4587: 4582: 4578: 4574: 4570: 4566: 4562: 4558: 4554: 4553:Roland TB-303 4550: 4539: 4536: 4528: 4525:December 2011 4518: 4514: 4508: 4507: 4500: 4491: 4490: 4486: 4482: 4472: 4470: 4466: 4462: 4458: 4454: 4450: 4446: 4444: 4439: 4435: 4433: 4429: 4425: 4421: 4417: 4413: 4409: 4405: 4401: 4394: 4387:Birth of MIDI 4384: 4382: 4378: 4377:Fairlight CMI 4373: 4371: 4367: 4363: 4359: 4354: 4352: 4351:Harry Mendell 4348: 4343: 4341: 4337: 4332: 4330: 4325: 4316: 4312: 4310: 4306: 4302: 4301:pitch-shifted 4298: 4294: 4290: 4289:MIDI keyboard 4286: 4282: 4278: 4274: 4270: 4266: 4262: 4256: 4252: 4251:Fairlight CMI 4248: 4238: 4236: 4232: 4228: 4223: 4221: 4218: 4214: 4210: 4205: 4203: 4199: 4195: 4191: 4190:Korg Poly-800 4183: 4179: 4175: 4173: 4172:sampling rate 4170: 4169:overachieving 4166: 4161: 4159: 4154: 4150: 4149:John Chowning 4146: 4142: 4136: 4132: 4128: 4124: 4120: 4116: 4106: 4104: 4099: 4094: 4092: 4088: 4084: 4083: 4078: 4074: 4073:Rolf Gehlhaar 4070: 4066: 4063:In 1974, the 4061: 4059: 4055: 4051: 4047: 4041: 4037: 4033: 4029: 4020: 4010: 4008: 4004: 3998: 3995: 3991: 3987: 3983: 3978: 3974: 3970: 3961: 3957: 3953: 3951: 3947: 3945: 3944: 3939: 3938:Pierre Boulez 3935: 3931: 3927: 3925: 3921: 3917: 3913: 3909: 3905: 3901: 3897: 3893: 3889: 3885: 3877: 3873: 3871: 3867: 3858: 3856: 3852: 3851: 3846: 3842: 3841: 3836: 3832: 3827: 3825: 3821: 3816: 3814: 3810: 3806: 3802: 3798: 3794: 3790: 3786: 3782: 3779:from Canada, 3778: 3774: 3770: 3765: 3763: 3759: 3755: 3751: 3747: 3743: 3739: 3734: 3730: 3726: 3725:digital audio 3722: 3713: 3709: 3707: 3706: 3701: 3700: 3695: 3692:in 1981, and 3691: 3690: 3685: 3681: 3680: 3675: 3671: 3670: 3665: 3664: 3659: 3655: 3651: 3650: 3645: 3641: 3640: 3635: 3634: 3629: 3625: 3624: 3619: 3615: 3611: 3607: 3606: 3601: 3597: 3593: 3591: 3587: 3583: 3579: 3578: 3573: 3570:the score by 3569: 3565: 3561: 3557: 3553: 3552: 3547: 3543: 3542: 3537: 3533: 3532:John Williams 3529: 3525: 3524: 3519: 3518: 3513: 3512: 3507: 3503: 3501: 3500: 3495: 3491: 3490: 3485: 3481: 3477: 3476:Mike Oldfield 3472: 3470: 3469: 3464: 3463: 3458: 3457: 3452: 3451: 3446: 3445: 3440: 3435: 3431: 3430:new-age music 3427: 3426:Klaus Schulze 3423: 3419: 3415: 3411: 3407: 3403: 3399: 3394: 3392: 3388: 3384: 3380: 3376: 3375:hip hop music 3371: 3369: 3365: 3361: 3357: 3353: 3349: 3345: 3341: 3337: 3333: 3329: 3325: 3324:sound artists 3321: 3317: 3315: 3311: 3307: 3303: 3299: 3295: 3291: 3287: 3283: 3279: 3275: 3271: 3267: 3263: 3259: 3255: 3247: 3246:Keith Emerson 3243: 3239: 3237: 3233: 3228: 3226: 3222: 3218: 3214: 3210: 3206: 3205: 3199: 3197: 3193: 3189: 3185: 3181: 3177: 3173: 3169: 3165: 3161: 3160:Silver Apples 3156: 3154: 3150: 3146: 3142: 3138: 3134: 3130: 3126: 3122: 3118: 3114: 3108: 3104: 3100: 3096: 3090: 3086: 3085:Electro music 3082: 3078: 3074: 3059: 3057: 3051: 3049: 3045: 3041: 3037: 3034: 3030: 3026: 3025: 3020: 3016: 3012: 3008: 3004: 3000: 2996: 2992: 2988: 2984: 2979: 2973: 2963: 2961: 2957: 2953: 2949: 2945: 2941: 2937: 2932: 2928: 2924: 2915: 2910: 2906: 2902: 2900: 2899:popular music 2896: 2895:drum machines 2892: 2888: 2884: 2883:popular music 2880: 2876: 2872: 2868: 2864: 2859: 2854: 2850: 2846: 2841: 2839: 2835: 2831: 2827: 2823: 2819: 2815: 2812:released the 2811: 2803: 2799: 2794: 2790: 2788: 2784: 2780: 2776: 2772: 2764: 2760: 2755: 2746: 2744: 2740: 2739:Suzanne Ciani 2736: 2732: 2728: 2724: 2722: 2718: 2716: 2715: 2710: 2706: 2702: 2698: 2693: 2691: 2690: 2685: 2681: 2677: 2673: 2669: 2668: 2667:Mikrophonie I 2663: 2657: 2647: 2645: 2644:Mycènes Alpha 2641: 2637: 2633: 2629: 2625: 2621: 2617: 2616: 2611: 2607: 2596: 2593: 2585: 2575: 2570: 2568: 2561: 2552: 2551: 2543: 2541: 2537: 2533: 2530:" (1986) for 2529: 2525: 2521: 2517: 2512: 2510: 2506: 2502: 2498: 2494: 2490: 2486: 2482: 2477: 2475: 2471: 2467: 2463: 2458: 2456: 2451: 2445: 2441: 2435: 2425: 2423: 2419: 2415: 2411: 2407: 2403: 2402: 2397: 2393: 2389: 2385: 2383: 2379: 2375: 2371: 2367: 2363: 2358: 2355: 2354:Pietro Grossi 2351: 2347: 2346:Mills College 2342: 2340: 2336: 2332: 2328: 2324: 2319: 2317: 2313: 2309: 2303: 2298: 2296: 2291: 2289: 2285: 2281: 2277: 2276:Hugh Le Caine 2273: 2269: 2265: 2261: 2253: 2252:Hugh Le Caine 2248: 2244: 2242: 2238: 2234: 2233:George Newson 2230: 2226: 2222: 2221:Tristram Cary 2218: 2214: 2210: 2208: 2203: 2199: 2198: 2193: 2188: 2186: 2185: 2180: 2176: 2171: 2169: 2165: 2164: 2159: 2152: 2148: 2144: 2140: 2136: 2126: 2124: 2120: 2116: 2112: 2108: 2104: 2100: 2096: 2092: 2086: 2084: 2080: 2076: 2075:Alice Shields 2072: 2068: 2064: 2063: 2058: 2054: 2050: 2046: 2042: 2038: 2037:Halim El-Dabh 2034: 2030: 2026: 2022: 2018: 2014: 2007: 2003: 1999: 1997: 1996:Transición II 1993: 1989: 1985: 1981: 1980: 1975: 1971: 1970:Tom Dissevelt 1967: 1962: 1960: 1956: 1955:Raymond Scott 1952: 1948: 1947: 1942: 1941: 1936: 1932: 1928: 1924: 1920: 1916: 1912: 1911: 1906: 1902: 1892: 1890: 1886: 1882: 1878: 1874: 1870: 1866: 1860: 1858: 1854: 1853:Yoshirō Irino 1851:, evident in 1850: 1846: 1842: 1838: 1837: 1832: 1827: 1825: 1821: 1817: 1813: 1809: 1805: 1800: 1798: 1797:magnetic tape 1794: 1790: 1786: 1781: 1779: 1774: 1773:Minao Shibata 1770: 1760: 1751: 1742: 1727: 1724: 1716: 1706: 1705:the talk page 1702: 1696: 1694: 1689:This section 1687: 1678: 1677: 1669: 1667: 1663: 1659: 1655: 1650: 1646: 1642: 1638: 1631: 1626: 1617: 1615: 1611: 1607: 1603: 1602:Sven Grunberg 1599: 1594: 1592: 1588: 1584: 1580: 1576: 1572: 1571:Sándor Kallós 1566: 1561: 1557: 1552: 1550: 1546: 1545:Evgeny Murzin 1542: 1541:Space age pop 1536: 1531: 1527: 1522: 1520: 1514: 1509: 1503: 1498: 1494: 1490: 1486: 1482: 1474: 1470: 1461: 1459: 1455: 1454: 1448: 1446: 1442: 1438: 1433: 1430: 1426: 1420: 1416: 1414: 1410: 1404: 1402: 1398: 1392: 1388: 1382: 1372: 1370: 1366: 1361: 1359: 1355: 1351: 1347: 1343: 1339: 1334: 1332: 1328: 1324: 1323: 1318: 1317: 1309:United States 1306: 1304: 1303: 1298: 1297: 1292: 1287: 1285: 1281: 1277: 1273: 1269: 1265: 1261: 1260: 1255: 1254: 1248: 1246: 1242: 1238: 1234: 1230: 1226: 1222: 1217: 1214: 1210: 1206: 1205:Bruno Maderna 1202: 1197: 1195: 1191: 1187: 1183: 1179: 1173: 1171: 1167: 1163: 1155: 1146: 1144: 1140: 1136: 1131: 1129: 1125: 1121: 1117: 1112: 1110: 1106: 1105: 1100: 1099:Edgard Varèse 1096: 1092: 1088: 1084: 1080: 1075: 1073: 1072:tape splicing 1069: 1064: 1060: 1056: 1052: 1042: 1038: 1034: 1028: 1019: 1015: 1009: 999: 993: 983: 981: 976: 971: 970: 965: 964:wire recorder 961: 957: 956:Halim El-Dabh 952: 949: 945: 944:tape recorder 939: 935: 920: 918: 914: 913: 908: 904: 900: 896: 892: 888: 887:Tristan Tzara 884: 880: 879:sound-on-film 875: 873: 872: 867: 863: 859: 855: 850: 848: 844: 834: 832: 828: 827:Gavriil Popov 824: 820: 819:Edgard Varèse 816: 812: 808: 804: 800: 798: 794: 790: 785: 783: 779: 775: 771: 767: 759: 758:Leon Theremin 755: 746: 744: 743: 738: 734: 730: 726: 725:Luigi Russolo 722: 718: 714: 710: 706: 701: 699: 695: 691: 688: 684: 680: 673: 669: 664: 655: 653: 649: 644: 642: 638: 634: 630: 626: 622: 618: 614: 610: 606: 602: 598: 594: 590: 589:popular music 586: 585:drum machines 582: 578: 574: 570: 565: 563: 559: 555: 551: 548: 542: 540: 536: 532: 531:Hammond organ 528: 524: 520: 516: 512: 508: 504: 500: 496: 492: 488: 484: 480: 476: 465: 460: 458: 453: 451: 446: 445: 443: 442: 437: 434: 432: 429: 425: 422: 421: 420: 417: 415: 412: 410: 407: 405: 402: 400: 397: 395: 394:In folk music 392: 390: 389:In rock music 387: 385: 382: 381: 380: 379: 375: 374: 369: 366: 364: 361: 359: 356: 354: 351: 349: 346: 344: 341: 339: 336: 334: 331: 329: 326: 324: 321: 319: 316: 314: 311: 309: 306: 304: 303:Drum and bass 301: 299: 296: 294: 291: 289: 286: 284: 281: 280: 279: 278: 274: 273: 268: 265: 263: 260: 258: 255: 251: 248: 247: 245: 242: 240: 239:Ambient music 237: 236: 235: 234: 230: 229: 226: 223: 222: 213: 210: 208: 205: 203: 200: 198: 195: 193: 190: 188: 185: 184: 182: 177: 171: 169: 166: 164: 161: 159: 156: 154: 151: 149: 146: 144: 141: 139: 136: 134: 131: 129: 126: 124: 121: 119: 116: 114: 111: 109: 106: 105: 104: 100: 97: 93: 92:United States 89: 85: 80: 77: 75: 72: 71: 70: 66: 63: 60: 56: 51: 48: 43: 42: 34: 19: 14172:Drum machine 14082:Doujin music 14070:Lounge music 14027:Street dance 13981:EDM festival 13934:Sound system 13900:Other topics 13775:Post-dubstep 13728:Lofi hip hop 13703:Future house 13529:Reductionism 13497:Nintendocore 13421:Fidget house 13372:Coupé-décalé 13312:Speed garage 13127:Indietronica 13031:Ghetto house 13009:French house 12999:Electroclash 12955:Ragga jungle 12866:Dark electro 12766:Bleep techno 12746:Sophisti-pop 12684:Jersey sound 12597:Funk carioca 12553:Dark ambient 12457:Minimal wave 12148: 12142: 12132: 11869: 11773: 11743: 11724: 11713:the original 11708: 11693:, retrieved 11690:Brainvoyager 11685: 11670:, retrieved 11664: 11647: 11635: 11615: 11595: 11576: 11554: 11535: 11527: 11519: 11508: 11476: 11459: 11445:, retrieved 11438: 11425: 11400: 11396: 11378: 11375:Peyser, Joan 11361:, retrieved 11354: 11347:Davies, Hugh 11326: 11308: 11302: 11281: 11263: 11244: 11222: 11210:, retrieved 11206:the original 11199: 11173: 11152: 11143: 11127: 11119: 11101: 11090:, retrieved 11086:the original 11082:120years.net 11081: 11055: 11042: 11031: 11029:Bush, John, 11019:, retrieved 11015:the original 11010: 11005:Bush, John, 10983: 10964: 10944: 10930:, retrieved 10922: 10907:, retrieved 10903:the original 10898: 10882:, retrieved 10874: 10860: 10849: 10828: 10822:January 2024 10819: 10807: 10773: 10757:, retrieved 10752: 10746: 10731:, retrieved 10725: 10703: 10682: 10671:, retrieved 10667:The Guardian 10666: 10651:, retrieved 10647:the original 10632: 10603: 10585: 10567: 10546: 10530: 10511: 10488: 10472: 10466: 10458:the original 10452: 10440:, retrieved 10433: 10418:, retrieved 10411:the original 10402: 10392: 10378:, retrieved 10374:the original 10368: 10358: 10340: 10322: 10300: 10286:, retrieved 10281: 10250: 10239:, retrieved 10233: 10214: 10205: 10194:, retrieved 10187:the original 10182: 10166: 10147: 10132: 10099: 10093: 10079:, retrieved 10075:the original 10057:(2): 41–48, 10054: 10048: 10020: 10014: 9994: 9980: 9958: 9937:Richard Toop 9932: 9915: 9896:, New York: 9893: 9856: 9836: 9817: 9806:, retrieved 9802:the original 9796: 9785: 9760: 9754: 9735: 9725: 9715: 9690: 9684: 9670: 9658: 9643:, retrieved 9634: 9622:, retrieved 9613: 9593: 9585: 9564: 9558: 9549: 9543: 9525: 9504:(4): 67–79, 9501: 9497: 9491:(7): 526–534 9488: 9482: 9458: 9452: 9431: 9418: 9414: 9410: 9406: 9395: 9357: 9333: 9327: 9311:, retrieved 9307:the original 9300: 9288:the original 9282: 9270:, retrieved 9266:the original 9259: 9244: 9228: 9217: 9206:, retrieved 9200: 9190:The Guardian 9188: 9161:. Retrieved 9157: 9147: 9140:Chadabe 2004 9135: 9123: 9116:Collins 2003 9111: 9099: 9087: 9075: 9063:. Retrieved 9059: 9031:. Retrieved 9027: 8993: 8959: 8953: 8943: 8935: 8929:Armada Music 8920: 8905: 8897: 8880: 8876: 8863: 8854: 8845: 8836: 8827: 8815: 8803: 8791:. Retrieved 8786: 8777: 8764: 8760: 8748: 8721: 8707: 8695: 8675: 8669: 8660: 8653:. Retrieved 8646:the original 8637: 8624: 8616:the original 8606: 8594: 8582: 8570: 8558: 8531: 8515: 8504:Zussman 1982 8499: 8494:, p. 8. 8486: 8474: 8461: 8458:the original 8453: 8443: 8430:. Retrieved 8426:the original 8422:"Sogitec 4X" 8413: 8394: 8388: 8377:, retrieved 8367: 8357: 8345: 8318:. Retrieved 8314:the original 8307: 8298: 8286:. Retrieved 8273: 8265:the original 8258: 8248: 8236:. Retrieved 8232:the original 8222: 8214: 8209: 8177: 8171: 8159:. Retrieved 8154: 8145: 8133: 8121:. Retrieved 8111: 8099:. Retrieved 8095:the Guardian 8094: 8085: 8073:. Retrieved 8066: 8056: 8037: 8031: 8018: 8001:Jenkins 2007 7980: 7974: 7962:. Retrieved 7947: 7940: 7916: 7906: 7879: 7867: 7855:. Retrieved 7850: 7840: 7828:. Retrieved 7813: 7806: 7794:. Retrieved 7775: 7768: 7759: 7752:. Retrieved 7748:The Guardian 7747: 7737: 7728: 7721:. Retrieved 7716: 7706: 7694:. Retrieved 7689: 7679: 7667:. Retrieved 7663:The Guardian 7661: 7648: 7636:. Retrieved 7632: 7622: 7610:. Retrieved 7605: 7595: 7583: 7571:. Retrieved 7567: 7558: 7548: 7540: 7527: 7521: 7508: 7486: 7458: 7435: 7427: 7415:. Retrieved 7408: 7399: 7386: 7360: 7356: 7342: 7337: 7314: 7300: 7288:. Retrieved 7284:the original 7275: 7233: 7227: 7216:, retrieved 7209: 7180: 7148: 7130: 7124: 7103: 7089: 7083: 7074: 7070: 7061: 7049:. Retrieved 7045:the original 7040:NOW Magazine 7038: 7028: 7009: 7003: 6993: 6980: 6973:Yabsley 2007 6963: 6951: 6944:Xenakis 1992 6939: 6927: 6915:. Retrieved 6901: 6889:. Retrieved 6884:The Guardian 6882: 6873: 6865:the original 6854: 6838:: 297–307 . 6831: 6825: 6815: 6803:. Retrieved 6799: 6789: 6777:. Retrieved 6773:the original 6768: 6759: 6750: 6741: 6729: 6717: 6705: 6697: 6690: 6672:Begault 1994 6667: 6655: 6626: 6614:. Retrieved 6610: 6601: 6589: 6577: 6565: 6553: 6536: 6519: 6511: 6502: 6488: 6481:Glinsky 2000 6476: 6471:, p. 1. 6464: 6452: 6440: 6428: 6416: 6404: 6392: 6380: 6375:, p. 11 6368: 6356: 6344: 6302: 6275: 6248: 6236: 6210: 6202: 6185:. Retrieved 6181:the original 6174: 6163:until 1961. 6136: 6129: 6095: 6090:. In Russian 6083: 6078:. In Russian 6066: 6062: 6057: 6052:. In Russian 6026: 6021:. In Russian 5986: 5981: 5974:Luening 1968 5969: 5962:Luening 1968 5939:Russcol 1972 5922:Johnson 2002 5916:), who—like 5914:Williams Mix 5913: 5908: 5903:, p. 4. 5901:Johnson 2002 5896: 5891:, p. 2. 5889:Johnson 2002 5884: 5877:Luening 1968 5872: 5858: 5853: 5841: 5828: 5816: 5811:, p. 2. 5804: 5792: 5780: 5753: 5746:Manning 2004 5741: 5729: 5716: 5703: 5691: 5679: 5674:, p. 24 5652: 5637: 5632:, p. 6. 5625: 5610: 5598: 5586: 5566: 5559: 5554:, p. 46 5547: 5542:, p. 45 5535: 5530:, p. 34 5523: 5516:Smirnov 2014 5511: 5499: 5494:, p. 28 5487: 5482:, p. 26 5475: 5470:, p. 24 5463: 5451: 5439: 5429: 5424:, p. 21 5407:, p. 18 5400: 5393:Russcol 1972 5388: 5381:Russcol 1972 5375: 5368:Russcol 1972 5363: 5351: 5346:, p. 47 5339: 5334:, p. 82 5325: 5319: 5314:, p. 41 5307: 5282: 5276: 5270: 5260:23 September 5258:. Retrieved 5254: 5245: 5228: 5223:, p. 8) 5212:effect units 5206: 5201:, p. 6) 5189: 5175: 5152: 5146: 5072:Music portal 5049: 5038: 5024:Ableton Live 5017: 4998: 4984: 4901: 4885: 4819: 4813: 4800:Tomorrowland 4761: 4758: 4743: 4703:Commodore 64 4692: 4681: 4624:Roland TR-77 4603: 4594: 4546: 4531: 4522: 4503: 4485:Drum machine 4447: 4440: 4436: 4396: 4374: 4362:FM synthesis 4358:Synclavier I 4355: 4344: 4333: 4321: 4285:found sounds 4258: 4224: 4209:Casio CZ-101 4206: 4187: 4162: 4138: 4095: 4090: 4087:John McGuire 4080: 4076: 4062: 4043: 4002: 3993: 3989: 3966: 3950:Barry Vercoe 3948: 3941: 3928: 3882: 3864: 3848: 3838: 3834: 3828: 3817: 3809:Azul y Negro 3766: 3750:Culture Club 3733:New Romantic 3718: 3703: 3697: 3687: 3677: 3667: 3661: 3658:Depeche Mode 3647: 3637: 3631: 3621: 3603: 3594: 3575: 3549: 3539: 3521: 3515: 3509: 3504: 3497: 3487: 3473: 3466: 3460: 3454: 3448: 3442: 3433: 3409: 3401: 3395: 3379:DJ Kool Herc 3372: 3318: 3251: 3232:David Borden 3229: 3209:Wendy Carlos 3202: 3200: 3191: 3157: 3148: 3137:Strange Days 3110: 3052: 3022: 3013:-influenced 3009:, producing 2991:sound system 2989:, rooted in 2981: 2942:), based in 2921: 2849:diode matrix 2842: 2818:drum machine 2807: 2798:drum machine 2768: 2742: 2730: 2727:Wendy Carlos 2725: 2719: 2712: 2697:Reed Ghazala 2694: 2687: 2675: 2665: 2659: 2643: 2635: 2631: 2627: 2623: 2619: 2613: 2609: 2603: 2588: 2582:October 2012 2579: 2572:Please help 2564: 2513: 2478: 2459: 2454: 2447: 2406:Wendy Carlos 2399: 2398:is the 1968 2386: 2381: 2377: 2365: 2359: 2343: 2335:Ramon Sender 2320: 2307: 2305: 2300: 2294: 2292: 2279: 2267: 2257: 2229:Brian Dennis 2206: 2195: 2189: 2182: 2172: 2167: 2161: 2157: 2154: 2087: 2067:Neil Rolnick 2060: 2056: 2040: 2010: 1995: 1977: 1973: 1963: 1944: 1938: 1910:Illiac Suite 1908: 1898: 1871:, sine-wave 1861: 1857:dodecaphonic 1836:sound object 1834: 1828: 1801: 1782: 1766: 1719: 1710: 1699:Please help 1690: 1634: 1598:Estonian SSR 1595: 1587:broadcasting 1553: 1528:created the 1523: 1489:croix sonore 1478: 1451: 1449: 1444: 1436: 1434: 1429:Henry Cowell 1421: 1417: 1412: 1408: 1405: 1394: 1365:Williams Mix 1364: 1362: 1335: 1327:Williams Mix 1326: 1322:Williams Mix 1320: 1314: 1312: 1300: 1294: 1288: 1257: 1251: 1249: 1244: 1240: 1236: 1218: 1212: 1211:. The title 1200: 1198: 1193: 1189: 1182:Otto Luening 1177: 1174: 1160: 1132: 1127: 1123: 1113: 1102: 1095:Pierre Henry 1086: 1078: 1076: 1048: 974: 967: 953: 941: 910: 903:Dziga Vertov 876: 869: 851: 840: 807:Charles Ives 801: 786: 763: 740: 712: 702: 687:Telharmonium 676: 672:Telharmonium 645: 566: 543: 527:telharmonium 523:loudspeakers 481:that employ 479:music genres 474: 473: 431:Sound system 376:Other topics 224: 179:Other topics 47: 40: 14182:Synthesizer 14087:Lo-fi music 14032:House dance 14015:Rare groove 13939:Turntablism 13924:Disc jockey 13872:Drift phonk 13753:Moombahsoul 13748:Moombahcore 13708:Future soul 13691:Future bass 13686:Funktronica 13671:Bro-country 13610:Witch house 13578:Tecno brega 13472:Jersey club 13416:Dutch house 13270:Progressive 13208:Power noise 13154:Livetronica 13004:Folktronica 12980:Liquid funk 12970:Intelligent 12965:Atmospheric 12856:Changa tuki 12851:Broken beat 12794:Ambient dub 12761:Acid techno 12751:Synth-metal 12612:Tecnocumbia 12524:Ambient pop 12479:Italo disco 12398:Electropunk 12376:Space disco 12348:Space music 12341:Sampledelia 12150:Electronica 11928:Noise music 11473:(US title: 10932:29 December 10925:, Seattle: 10759:30 December 10673:23 December 10564:Toop, David 9065:9 September 9033:9 September 8741:Aitken 2011 8700:Holmes 2008 8599:Holmes 2008 8575:Holmes 2008 8551:Holmes 2008 8506:, pp. 8479:Vercoe 2000 8363:Beato, Rick 8283:BBC Radio 1 8161:14 November 8138:Holmes 2002 8119:. BBC. 2018 8101:14 November 8003:, pp. 7912:Toop, David 7899:Holmes 2008 7857:19 February 7845:John Bush. 7830:17 February 7796:17 February 7754:26 February 7723:19 February 7696:26 February 7588:Holmes 2012 7573:19 November 7276:Korg Museum 7067:"クロダオルガン修理" 6946:, p. . 6932:Mattis 2001 6734:Holmes 2008 6722:Holmes 2012 6457:Gayou 2007a 6445:Holmes 2008 6433:Holmes 2008 6409:Holmes 2008 6397:Harris 2018 6373:Loubet 1997 6361:Holmes 2008 6349:Holmes 2008 6295:Holmes 2008 6280:Holmes 2008 6241:Holmes 2008 6229:Holmes 2008 6187:30 December 6132:ja:電子音楽#黎明期 6115:Fildes 2008 5991:Norman 2004 5865:Holmes 2002 5809:Eimert 1958 5797:Eimert 1972 5734:Snyder 1998 5722:Holmes 2008 5684:Holmes 2008 5615:Krause 2002 5552:Holmes 2012 5540:Holmes 2012 5528:Holmes 2012 5492:Holmes 2012 5480:Holmes 2012 5468:Holmes 2012 5434:Holmes 2012 5422:Holmes 2012 5405:Holmes 2012 5356:Busoni 1962 5344:Holmes 2002 5312:Holmes 2002 5234:Holmes 2002 5221:Holmes 2002 5199:Holmes 2002 5005:live coding 4882:Indie music 4842:Fatboy Slim 4834:Astralwerks 4816:electronica 4810:Electronica 4715:Amstrad CPC 4711:ZX Spectrum 4688:sound cards 4684:sound chips 4660:Juan Atkins 4656:Derrick May 4652:Planet Rock 4640:Marvin Gaye 4592:sequencer. 4579:" in 1987. 4577:Acid Tracks 4461:Max Mathews 4370:Mike Thorne 4267:which uses 4227:Roland D-50 3900:Peter Schat 3831:heavy metal 3824:Aviador Dro 3813:Italo-disco 3742:Duran Duran 3649:Electricity 3636:and single 3618:The Buggles 3612:with their 3605:Ha!-Ha!-Ha! 3526:. In 1977, 3517:The Shining 3506:Film scores 3398:Isao Tomita 3336:world music 3332:psychedelic 3320:Ambient dub 3184:electronica 3168:White Noise 3141:the Monkees 3139:as well as 3117:the Beatles 3089:House music 3048:turntablism 2923:Turntablism 2820:. In 1965, 2542:computers. 2528:Music Mouse 2497:In the Mood 2410:David Tudor 2339:Terry Riley 2325:in 1963 by 2316:Bülent Arel 2237:Daphne Oram 2225:Hugh Davies 2217:Ernest Berk 2213:Ron Grainer 2139:Harald Bode 2135:Synthesizer 2095:Luc Ferrari 2079:Frank Zappa 2025:Bülent Arel 1959:Robert Moog 1923:Max Mathews 1919:algorithmic 1873:oscillators 1824:radiophonic 1820:Shirō Fukai 1804:Jikken Kōbō 1778:Asian music 1612:— Opus and 1610:Latvian SSR 1563: [ 1533: [ 1511: [ 1500: [ 1354:David Tudor 1346:Earle Brown 1299:(1964) and 1068:pitch shift 1037:Acousmonium 831:noise music 821:. Further, 766:vacuum tube 690:synthesized 641:Love Parade 511:synthesizer 491:electronics 419:Turntablism 399:Loudspeaker 267:Noise music 172:synthedelia 163:psychedelic 62:Electronica 58:Other names 14228:Categories 14155:Drum break 14102:Rave music 14092:Madchester 14055:Bass music 14037:Rave dance 13986:Free party 13951:Microgenre 13822:Hardvapour 13760:Mumble rap 13743:Moombahton 13733:Mahraganat 13661:Black MIDI 13571:Sovietwave 13546:Russ music 13477:Juke house 13450:Hauntology 13411:Complextro 13399:Reggaestep 13164:Microhouse 13159:Merenhouse 13078:Frenchcore 13073:Free tekno 13041:Ghettotech 12989:Dub techno 12886:Diva house 12881:Disco polo 12871:Denpa song 12814:Bhangragga 12726:Miami bass 12617:Turbo-folk 12587:Electropop 12558:Dubtronica 12474:Dance-rock 12469:Dance-punk 12464:Post-disco 12425:Industrial 12403:Euro disco 12353:Space rock 12243:Tape music 12133:Electronic 11951:By country 11918:Microsound 11881:Techniques 11870:Electronic 11443:(November) 11363:2 February 11212:13 January 11201:Mix Online 10986:, Ithaca: 10871:"Theremin" 10806:" section 10442:13 January 10380:13 January 10369:Sogitec 4X 10241:13 January 10183:DMA thesis 9461:(1): 3–6, 9297:"Synthpop" 9261:Mix Online 8822:, p. 8587:Roads 1996 8522:, p. 8432:13 January 8320:26 January 7983:, page 105 7872:Bussy 2004 7719:. KQED Inc 7633:PopMatters 7530:, page 127 7440:, May 2002 7410:Reverb.com 7389:, page 515 7236:, page 390 7214:(November) 6805:18 October 6779:18 October 6558:Gluck 2005 6469:Kurtz 1992 6337:Fujii 2004 6322:Fujii 2004 6307:Fujii 2004 6268:Fujii 2004 6253:Fujii 2004 6145:free reeds 6137:electronic 6033:In Russian 5773:Kurtz 1992 5758:Lange 2009 5672:Young 2007 5657:Angus 1984 5642:Snell 2006 5603:Engel 2006 5456:Roads 2015 5080:Clavioline 5000:laptronica 4948:Morr Music 4880:See also: 4676:See also: 4565:acid house 4428:Dave Smith 4255:Synclavier 4245:See also: 4182:Yamaha DX7 4113:See also: 4096:Thanks to 4046:Moog Music 4026:See also: 3994:Synapse II 3977:Guggenheim 3960:Sogitec 4X 3934:Sogitec 4X 3924:Cracklebox 3801:Alphaville 3797:Propaganda 3762:Eurythmics 3628:Gary Numan 3494:Jeff Wayne 3310:Roxy Music 3262:Pink Floyd 3196:Hot Butter 3103:Space rock 3093:See also: 3081:Electropop 3029:minimalism 2995:King Tubby 2983:In Jamaica 2976:See also: 2936:Matsushita 2765:D-1 (1959) 2711: [ 2526:software " 2509:SoundCloud 2455:speculated 2438:See also: 2412:brought a 2286:, and the 2207:Doctor Who 2197:Doctor Who 2151:Moog Music 2133:See also: 2049:folk music 1812:slide show 1713:March 2012 1695:to readers 1385:See also: 1168:Cologne's 996:See also: 948:AC biasing 862:Ernst Toch 782:trautonium 633:Yamaha DX7 601:turntables 550:tape music 14274:New media 13956:Nightclub 13919:Club drug 13914:Beat drop 13817:Vaporwave 13792:Rara tech 13681:Dreampunk 13636:Afroswing 13620:Wonky pop 13566:Synthwave 13534:Lowercase 13492:Nightcore 13482:Jumpstyle 13460:Chillwave 13382:Crunkcore 13367:Cloud rap 13347:Afrobeats 13307:Breakstep 13297:UK garage 13285:Uplifting 13223:Reggaeton 13203:Post-rock 13149:Kidandali 13110:Speedcore 13088:Hardstyle 13068:Breakcore 13026:Futurepop 12938:Neurofunk 12898:Downtempo 12689:Hip house 12629:Eurodance 12568:Freestyle 12529:Breakbeat 12507:Acid jazz 12491:Synth-pop 12452:Dark wave 12447:Cold wave 12437:Japanoise 12393:Dancehall 12311:Krautrock 12306:Jazz-funk 11913:Tape loop 10775:InfoWorld 10625:"Forward" 10124:143454942 9898:Routledge 9872:(cloth); 9693:: 63–77, 9545:Die Reihe 9246:Billboard 9158:The Verge 8883:: 59–75. 8726:Vine 2011 8712:Ozab 2000 8689:CRC Press 8678:, page 29 8655:6 October 8350:Russ 2009 8309:New Order 8155:Stereogum 7669:5 October 7638:5 October 7612:5 October 7534:Routledge 7511:, page 49 7489:, page 20 7362:Billboard 7345:, page 43 7164:in 1959." 6969:Gard 2004 6917:28 August 6891:28 August 6421:Rhea 1980 6161:Wurlitzer 6069:July 2005 5504:Toop 2016 5138:Footnotes 5100:Ondioline 4981:, in 2016 4936:Skeletons 4924:Lali Puna 4920:Broadcast 4904:Stereolab 4866:Daft Punk 4854:Moonshine 4821:Billboard 4768:dance-pop 4666:Chiptunes 4620:metronome 4604:Benzaiten 4557:sequencer 4513:talk page 4465:Macintosh 4324:Mellotron 4293:sequencer 4283:song) or 4200:with one 4198:polyphony 4050:Mini-Moog 3870:sound art 3847:and 1986 3845:Van Halen 3754:Talk Talk 3684:New Order 3642:in 1979, 3596:Synth-pop 3582:punk rock 3528:Gene Page 3489:The Raven 3486:in 1975, 3444:Magic Fly 3410:Benzaiten 3391:virtuosic 3387:b-dancers 3360:Loop Guru 3344:Dreadzone 3340:basslines 3306:Brian Eno 3302:krautrock 3278:Kraftwerk 3230:In 1969, 3133:the Doors 3131:would be 3125:Mellotron 3099:Krautrock 3077:Synth-pop 3007:Scientist 2987:dub music 2972:Dub music 2940:Panasonic 2879:bass drum 2855:'s prior 2808:In 1963, 2787:NAMM Show 2761:: Yamaha 2741:released 2705:John Cage 2680:sine-wave 2664:composed 2532:Macintosh 2404:album by 2264:Josef Tal 2158:Gargoyles 2119:Ivo Malec 2031:used the 1992:Argentine 1907:composed 1869:Melochord 1865:Monochord 1845:serialism 1620:Australia 1547:designed 1479:In 1929, 1445:Low Speed 1342:John Cage 1286:in 1960. 1276:Eindhoven 1120:PA system 1014:Phonogene 868:composed 866:John Cage 770:amplified 733:machinery 717:Futurists 617:synth-pop 609:krautrock 493:(such as 368:Vaporwave 363:UK garage 348:Synth-pop 298:Downtempo 293:Dancehall 283:Breakbeat 168:synth-pop 74:Modernism 14209:Waveform 14005:Sampling 13991:Teknival 13844:Hardwave 13827:Mallsoft 13807:EDM trap 13802:Shamstep 13713:Hyperpop 13646:Amapiano 13641:Algorave 13598:Funkstep 13593:UK funky 13539:Onkyokei 13517:New rave 13352:Bassline 13329:Hard NRG 13324:Hardbass 13260:Hands Up 13245:Balearic 13193:Nu metal 13174:Schaffel 13122:Illbient 13053:Hardcore 13036:Footwork 13014:Nu disco 12975:Jazzstep 12943:Techstep 12933:Hardstep 12928:Darkstep 12913:Trip hop 12908:Psybient 12834:Darkcore 12819:Big beat 12731:New beat 12624:Eurobeat 12442:New wave 12388:Chiptune 12218:Biomusic 12052:Inactive 12036:Toonzaal 11830:Archived 11813:Archived 11723:(1981), 11695:17 April 11672:28 March 11641:AllMusic 11575:(2009), 11458:(1998), 11377:(1995), 11349:(2001), 11243:(1999), 11172:(1995), 11054:(1997), 10943:(2017). 10748:The Wire 10702:(1992), 10623:(2000), 10566:(2016), 10483:(1971). 10391:(1975), 10321:(2015), 10299:(1996), 10138:archived 9991:(1996), 9963:Elsevier 9957:(2007), 9925:Abstract 9888:(ebook). 9777:54996026 9707:62553919 9659:BBC News 9518:62735944 9475:62189224 9376:Archived 9302:AllMusic 9060:AllMusic 8910:page 115 8904:(2014), 8837:SiriusXM 8681:Archived 8373:archived 8238:8 August 8075:14 March 7914:(1995). 7851:AllMusic 7367:page 140 7051:21 April 6679:Archived 6660:Loy 1985 6072:Archived 6015:Archived 5618:abstract 5299:57562349 5058:See also 5052:Eurorack 5009:Algorave 4858:DJ Keoki 4794:such as 4723:Atari ST 4672:Chiptune 4612:Ultravox 4506:disputed 4443:sampling 4408:Oberheim 4353:(1976). 4241:Samplers 4093:(1978). 3990:Sonatine 3835:opposite 3689:Ceremony 3616:(1978), 3600:Ultravox 3572:Vangelis 3558:won the 3418:Vangelis 3121:theremin 3056:Kingston 3044:remixing 3036:toasting 2952:Technics 2929:. 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