998:
962:
974:
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1058:
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2252:
2240:
314:
89:
190:(1939) was among the earliest compositions to include an innovative use of live electronic material; it featured two variable-speed phonograph turntables and sine-tone recordings. Cage's interest in live electronics continued through the 1940s and 1950s, providing inspiration for the formation of a number of live-electronic groups in America who came to regard themselves as the pioneers of a new art form.
273:, such as: spontaneity, dialogue, discovery and group interaction. Many composers viewed the development of live electronics as a reaction against "the largely technocratic and rationalistic ethos of studio processed tape music" which was devoid of the visual and theatrical component of live performance. By the 1970s, live electronics had become the primary area of innovation in electronic music.
199:
425:
344:. Many sophisticated forms of sound production, manipulation and organization (which had hitherto only been available in studios or academic institutions) became available to use in live performance, largely by younger musicians influenced by and interested in developing experimental popular music forms. A combination of many laptops can be used to form a
369:
26:) is a form of music that can include traditional electronic sound-generating devices, modified electric musical instruments, hacked sound generating technologies, and computers. Initially the practice developed in reaction to sound-based composition for fixed media such as
289:
and his large scale concerts which he performed attracted millions of people, breaking his own record for largest audience four times.) In fact Jarre continued to break his own records up to the end of the century, with 3.5 million people attending 1997's
374:
373:
371:
404:
with improvisation, Typically, the process of writing is made visible by projecting the computer screen in the audience space, with ways of visualising the code an area of active research. There are also approaches to human live coding in improvised
375:
372:
340:. The term gained a certain degree of currency in the 1990s and is of significance due to the use of highly powerful computation being made available to musicians in highly portable form, and therefore in
266:(1960), had mainly employed amplification, Stockhausen's innovation was to add electronic transformation through filtering, which erased the distinction between instrumental and electronic music.
412:
Live coding is also an increasingly popular technique in programming-related lectures and conference presentations, and has been described as a "best practice" for computer science lectures by
232:
in 1951 with limited success. However, it was in Europe at the end of the 1950s and early 1960s that the most coherent transition from studio electronic techniques to live synthesis occurred.
178:
139:
Many early compositions included these electronic instruments, though the instruments were typically used as fill-ins for standard classical instruments. An example includes composer
1310:
370:
167:
compositions (1935–37) because of the instrument's complete 'gliding' freedom of pitch.( The ondes
Martenot was also used as a featured instrument in the 1930s, and composer
136:(1929), may be cited as antecedents, but were intended simply as new means of sound production, and did nothing to change the nature of musical composition or performance.
1202:
1441:
409:. Live coding techniques are also employed outside of performance, such as in producing sound for film or audio/visual work for interactive art installations.
1396:
269:
During the 1960s, a number of composers believed studio-based composition, such as musique concrète, lacked elements that were central to the creation of
1704:
eContact! 10.4 – Temps réel, improvisation et interactivité en électroacoustique / Live-electronics – Improvisation – Interactivity in
Electroacoustics
1659:
eContact! 10.4 – Temps réel, improvisation et interactivité en électroacoustique / Live-electronics – Improvisation – Interactivity in
Electroacoustics
1581:
eContact! 10.4 – Temps réel, improvisation et interactivité en électroacoustique / Live-electronics – Improvisation – Interactivity in
Electroacoustics
1754:
1244:
446:
that was originally referred to as live electronics. It has been part of the sound art world since the 1930s with the early works of John Cage,)
1546:". DNK Amsterdam: Concert Series for New Live Electronic and Acoustic Music in Amsterdam (press release, 27 November; Accessed 2 May 2013).
258:
246:
1952:
1852:
1714:
389:(sometimes referred to as 'on-the-fly programming', 'just in time programming') is a programming practice centred upon the use of
1544:
Jeff Carey / Jozef van Wissem, Tetuzi
Akiyama / Martin Siewert: Three Sets of Strings & Electronics in Different Combinations
324:
Laptronica is a form of live electronic music or computer music in which laptops are used as musical instruments. The term is a
2283:
2308:
2303:
1747:
1677:
1644:
1606:
1590:
Burns, Christopher (2002). "Realizing Lucier and
Stockhausen: Case Studies in the Performance Practice of Electronic Music."
1562:
1387:
1353:
1334:
1235:
1227:
749:
380:
1847:
1842:
1763:
1707:
1692:
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240:(1959) combined two tape recorders for live manipulation of the sounds of piano and percussion, and beginning in 1964
1513:
1489:
1472:
1432:
2288:
1740:
1636:
1405:
616:(1966–68) for large orchestra with jazz band, two singers, live electronics, hurdy-gurdy, music box, and newsreader
448:
212:), who wrote a number of notable electronic compositions in the 1960s and 1970s in which amplification, filtering,
1597:
Cox, Christoph (2002). "The
Jerrybuilt Future: The Sonic Arts Union, Once Group and MEV’s Live Electronics." In
1194:
Imaginary
Landscape No. 1: for Records of Constant and Variable Frequency, Large Chinese Cymbal and String Piano
1945:
1219:
492:
2107:
1689:
eContact! 11.4 – Toronto
Electroacoustic Symposium 2009 (TES) / Symposium Électroacoustique 2009 de Toronto
1619:
Giomi, Francesco, Damiano Meacci, and Kilian
Schwoon (2003). "Live Electronics in Luciano Berio’s Music."
2298:
2278:
1543:
1522:
1293:
2313:
1311:"What Students Get Wrong When Building Computational Physics Models in Python: Cabellero Thesis Part 2"
1166:
497:
The following is an incomplete list, in chronological order, of early notable electronic compositions:
452:
magazine published articles by a number of leading electronic and avant-garde composers in the 1960s.
2293:
2244:
1970:
1914:
1423:
Schrader, Barry (1991). "Live/Electro-Acoustic Music: A Perspective from History and California," in
546:
186:
1938:
1919:
754:
1398:
Artificial, Natural, Historical in Transdisciplinary Digital Art. Sound, Vision and the New Screen
608:(1965–66) for viola, contact microphones, tape recorder, filters, and potentiometers (4 players);
1141:(list of issues with Notes "from Deep Listening's website"). UbuWeb: Sound (Accessed 2 May 2013).
401:
393:
1654:
1527:
Proceedings of the 2004 International Conference on New Interfaces for Musical Expression (NIME)
173:
2225:
1621:
759:
109:
1724:
Stroppa, Marco (1999). "Live Electronics or … Live Music? Towards a Critique of Interaction."
1576:
228:
had attempted live generation of the final stages of his works at the first public concert of
1888:
541:
456:
241:
39:
576:
213:
208:
203:
1699:
8:
2256:
2208:
2048:
1370:
506:
148:
63:
27:
1273:
1184:
671:
558:
460:
443:
140:
59:
2080:
1984:
1873:
1684:
1673:
1640:
1602:
1558:
1509:
1485:
1468:
1428:
1383:
1349:
1330:
1231:
1223:
692:
291:
282:
51:
1175:
1119:
830:
707:(1969), Morality opera for soloists, 3 mixed choirs, orchestra, and live electronics
2214:
2203:
2176:
2102:
2021:
2004:
1791:
1252:
696:
681:
601:
345:
225:
168:
97:
31:
2117:
2182:
2016:
1961:
1630:
1569:
1450:
717:
432:
113:
101:
55:
1612:
Davies, Hugh (2001). "Gentle Fire: An Early Approach to Live Electronic Music."
1549:
Andraschke, Peter (2001). "Dichtung in Musik: Stockhausen, Trakl, Holliger." In
2033:
1904:
1554:
1529:, pp. 138–143, Michael J. Lyons (ed), Yoichi Nagashima (chair), New York: NIME.
644:
468:
317:
233:
156:
129:
35:
1362:
1256:
483:, have also played a contributing role in bringing attention to the practice.
244:
entered on a period of intensive work with live electronics with three works,
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2112:
1994:
1786:
1497:
727:
619:
523:
397:
390:
308:
217:
152:
1344:
1284:
2055:
2043:
2038:
2011:
1989:
1816:
1616:
11 ("Not Necessarily ‘English Music’: Britain's Second Golden Age"): 53–60.
1505:
1427:, edited by Peter Nelson, Stephen Montague, and Gary Montague,. CRC Press.
661:
629:
583:
413:
117:
93:
1732:
281:
The 1970s and 1980s were notable for contributions by electronic musician
88:
2220:
2070:
1999:
1811:
1361:
McLean, Alex, Dave Griffiths, Nick Collins, and Geraint Wiggins (2010). "
700:
651:
639:
476:
472:
357:
333:
325:
120:(1897) and instruments developed between the two world wars, such as the
67:
1523:"On-the-fly Programming: Using Code as an Expressive Musical Instrument"
104:, and one of the first electronic instruments used for live performance.
2150:
2085:
1909:
1806:
1655:
Reflections on Aspects of Music Interactivity in Performance Situations
1360:
1243:
Collins, Nick, Alex McLean, Julian Rohrhuber, and Adrian Ward (2003), "
1136:
1004:
570:
564:
480:
428:
270:
133:
125:
46:
of various sounds may be transformed extensively using devices such as
313:
286:
163:(in preference to a string quartet) for his two earliest experimental
2198:
2160:
2155:
2145:
2097:
2060:
2028:
1883:
1878:
1632:
A NIME Reader: Fifteen Years of New Interfaces for Musical Expression
1242:
968:
513:
501:
464:
47:
1502:
Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook
2193:
2140:
2135:
2092:
2065:
1821:
1801:
363:
160:
121:
1930:
1467:. New York: Schirmer Books; London: Collier Macmillan Publishers.
1196:. S.l.: Henmar Press; New York: Sole Selling Agents, C. F. Peters.
2075:
341:
1700:
Voice and Live-Electronics using Remotes as Gestural Controllers
1382:, fourth edition. Oxford and New York: Oxford University Press.
842:
1868:
1218:, edited by Nick Collins and Julio d’Escriván, pp. 38–54.
552:
252:
43:
42:
often plays a large role in the performance of this music. The
436:
406:
400:, and is particularly prevalent in computer music, combining
262:. While earlier live-electronic compositions, such as Cage's
424:
396:. Live coding is often used to create sound and image based
198:
1826:
1796:
1149:"Communion by Universal Everything and Field.io: interview"
818:
781:
779:
1601:, edited by Rob Young, pp. 35–44. London: Continuum.
1022:
1728:
18, no. 3 ("Aesthetics of Live Electronic Music"): 41–77.
1629:
Jensenius, Alexander Refsum; Michael Lyons, eds. (2017).
1287:". BBC Radio 6 (Sunday 4 October; accessed 2 March 2018).
866:
796:
794:
776:
96:
console (likely pictured in the late 1890s) is an early
902:
854:
1259:. (Archive from 17 June 2018, accessed 14 April 2020)
791:
206:, at the sound controls for the live-electronic work
1279:". AllAboutJazz.com (21 June) (Accessed 2 May 2013).
1082:
1034:
926:
914:
890:
806:
1577:
Endphase: Origin and Analysis of an Ongoing Project
1508:, 493–499. Westport, Connecticut: Greenwood Press.
1465:
Music of the Twentieth Century: Style and Structure
1046:
938:
1670:Blocks of Consciousness and the Unbroken Continuum
1551:Stimme und Wort in der Musik des 20. Jahrhunderts,
1214:Collins, Nick (2007). "Live Electronic Music." In
1094:
878:
1367:Electronic Visualisation and the Arts London 2010
1010:
612:(1967), for 13 instruments and live electronics;
442:Electroacoustic improvisation (EAI) is a form of
2270:
1599:Undercurrents: The Hidden Wiring of Modern Music
1324:
1291:
1070:
848:
824:
419:
145:First Airphonic Suite for Theremin and Orchestra
1668:Marley, Brian, and Mark Wastell (eds.) (2006).
1575:Bernal, Alberto, and João Miguel Pais (2008). "
1329:. New Haven and London: Yale University Press.
1178:". Famouscomposers.net (accessed 7 March 2019).
83:
1169:". Noise Addicts blog (accessed 2 March 2018).
1946:
1748:
1520:
1345:A Source Guide to the Music of Percy Grainger
980:
1685:A Continuum of Indeterminacy in Laptop Music
1404:. Springer Berlin Heidelberg. Archived from
1300:. Oxford Music Online. Retrieved 2011-09-21.
1005:McLean, Griffiths, Collins, and Wiggins 2010
486:
455:It was further influenced by electronic and
1762:
1292:Gillies, Malcolm, and David Pear. (n.d.). "
1216:The Cambridge Companion to Electronic Music
1182:
908:
66:generation and manipulation of audio using
1953:
1939:
1755:
1741:
1479:
1444:Keith Rowe and Toshimaru Nakamura: Between
969:Collins, McLean, Rohrgruber, and Ward 2003
785:
688:(1969) for 52 strings and live electronics
220:was added to live instrumental performance
1394:
1222:. Cambridge: Cambridge University Press.
1028:
1853:List of electronic dance music festivals
1521:Wang, Ge, and Perry R. Cook (June 2004)
1422:
1348:. White Plains: Pro-Am Music Resources.
1263:
1173:
1164:
1145:
1134:
1088:
1064:
1040:
956:
932:
920:
423:
367:
312:
197:
87:
1377:
1325:Hill, Peter, and Nigel Simeone (2005).
1308:
1285:The First Time with … Jean Michel Jarre
1282:
1213:
1203:Generative Music and Laptop Performance
1200:
1052:
992:
944:
872:
860:
812:
800:
112:intended for live performance, such as
2271:
1439:
1187:". BBC News (accessed 6 October 2015).
1100:
1934:
1736:
1572:" Livepa.org (accessed 5 March 2015).
1462:
1341:
1116:
1016:
896:
836:
750:New Interfaces for Musical Expression
202:Stockhausen (2 September 1972 at the
1500:(2002). "Karlheinz Stockhausen". In
1496:
1191:
1120:"Tech Know: Programming, Meet Music"
1076:
884:
431:(pictured in 2008) improvising with
177:for six ondes, written for the 1937
1960:
475:. British free improvisation group
13:
1848:List of industrial music festivals
1843:List of electronic music festivals
1535:
745:List of electronic music festivals
14:
2325:
1713:Oxford University Press (2015). "
1245:Live Coding in Laptop Performance
1185:Jarre Breathes Again with Oxygene
2251:
2250:
2239:
2238:
1719:Oxford English Dictionary Online
1138:Source: Music of the Avant-Garde
159:, used ensembles of four or six
1167:Concerts with Record Attendance
479:, particularly their guitarist
536:Purposeful Lady Slow Afternoon
351:
276:
193:
78:
1:
2284:Electroacoustic improvisation
1653:Lindborg, PerMagnus (2008). "
1592:Journal of New Music Research
1484:. London: Sun Tavern Fields.
1440:Siegel, Jeff (22 June 2006).
1380:Electronic and Computer Music
1268:. Aldershot, Hants.: Ashgate.
1220:Cambridge Companions to Music
839:, chapter 4: "Program Notes".
765:
493:Category:Electronic musicians
420:Electroacoustic improvisation
302:
2309:20th-century classical music
2304:Contemporary classical music
1183:Cacciottolo, Mario (2008). "
84:Early electronic instruments
7:
1721:(retrieved 30 August 2014).
1557:, 341–355. Vienna: Böhlau.
738:
592:North American Time Capsule
320:2002, performing laptronica
147:, which premièred with the
10:
2330:
1683:Neal, Adam Scott (2009). "
1625:27, no. 2 (Summer): 30–46.
1480:Sutherland, Roger (1994).
1395:Rohrhuber, Julian (2008).
1363:Visualisation of Live Code
1109:
490:
459:and the music of American
379:Live coding example using
361:
355:
306:
179:International World's Fair
73:
2234:
2169:
2128:
1977:
1971:Electronics in rock music
1968:
1897:
1861:
1835:
1779:
1770:
1726:Contemporary Music Review
1594:31, no. 1 (March): 59–68.
1482:New Perspectives in Music
1342:Lewis, Thomas P. (1991).
1257:10.1017/S135577180300030X
1207:Contemporary Music Review
487:Notable works 1930s–1960s
187:Imaginary Landscape No. 1
1463:Simms, Brian R. (1986).
1264:Emmerson, Simon (2007).
770:
755:Operation Re-Information
588:Music for Solo Performer
297:
2289:Electronic music genres
1764:Electronic music events
1378:Manning, Peter (2013).
1356:. Retrieved 2011-09-21.
1302:(subscription required)
1283:Everitt, Matt (2015). "
1274:Extended Analysis: 4g:
1266:Living Electronic Music
435:at a music festival in
402:algorithmic composition
394:interactive programming
143:, who in 1929 composed
2226:Yellow Magic Orchestra
1698:Nowitz, Alex (2008). "
1691:(December). Montréal:
1622:Computer Music Journal
1614:Leonardo Music Journal
1570:What Is a 'Live P.A.'?
1542:Altena, Arie (2006). "
1373:(Accessed 8 May 2014).
1309:Guzdial, Mark (2011).
1201:Collins, Nick (2003) "
1122:. BBC News. 2009-08-28
760:List of music software
547:Mikrophonie I & II
439:
383:
321:
221:
110:electronic instruments
105:
2189:Live electronic music
1889:Second Summer of Love
1773:Live electronic music
1706:(October). Montréal:
1672:. London: Sound 323.
1583:(October). Montréal:
1272:Eyles, John (2006). "
849:Hill and Simeone 2005
542:Karlheinz Stockhausen
457:electroacoustic music
427:
378:
316:
242:Karlheinz Stockhausen
201:
91:
40:Musical improvisation
20:Live electronic music
1661:(October). Montréal:
825:Gillies and Pear n.d
703:, Jan van Vlijmen –
204:Shiraz Arts Festival
174:Fête des belles eaux
70:is now commonplace.
2049:Neue deutsche welle
1251:8, no. 3: 321–330.
1089:Anon. & n.d.(a)
1041:Anon. & n.d.(b)
933:Anon. & n.d.(e)
921:Anon. & n.d.(d)
507:Imaginary Landscape
149:Cleveland Orchestra
58:and other forms of
2299:Experimental music
2279:Free improvisation
1568:Anon. (n.d.(c)). "
1298:Grove Music Online
1192:Cage, John (1960).
1174:Anon. (n.d.(e)). "
1165:Anon. (n.d.(d)). "
1135:Anon. (n.d.(a)). "
981:Wang and Cook 2004
691:Louis Andriessen,
672:Richard Teitelbaum
463:composers such as
444:free improvisation
440:
384:
332:top computer" and
322:
222:
141:Joseph Schillinger
106:
2314:Music performance
2266:
2265:
2081:Post-punk revival
1985:Alternative dance
1928:
1927:
1678:978-0-9551541-0-2
1646:978-3-319-47214-0
1607:978-0-8264-6450-7
1563:978-3-205-99387-2
1388:978-0-19-974639-2
1354:978-0-912483-56-6
1335:978-0-300-10907-8
1236:978-0-521-86861-7
1228:978-0-521-68865-9
1176:Jean Michel Jarre
1146:Anon. (n.d.(b)).
693:Reinbert de Leeuw
550:(1964 and 1965);
376:
292:Oxygene in Moscow
285:. The success of
283:Jean-Michel Jarre
256:(both 1964), and
2321:
2294:Electronic music
2254:
2253:
2245:Electronic music
2242:
2241:
2215:Switched-On Rock
2204:Moog synthesizer
2177:Electro-Theremin
2103:Progressive rock
2022:Industrial metal
2005:Digital hardcore
1955:
1948:
1941:
1932:
1931:
1915:hip hop festival
1792:Acid house party
1757:
1750:
1743:
1734:
1733:
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1530:
1517:
1493:
1476:
1459:
1454:. Archived from
1436:
1425:Live Electronics
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1321:
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1210:
1209:22, no. 4:67–79.
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909:Cacciottolo 2008
906:
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834:
828:
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798:
789:
783:
732:Transformation I
697:Misha Mengelberg
682:Louis Andriessen
602:Johannes Fritsch
377:
346:laptop orchestra
342:live performance
230:musique concrète
226:Pierre Schaeffer
169:Olivier Messiaen
132:(1928), and the
98:electronic organ
32:electronic music
28:musique concrète
24:live electronics
2329:
2328:
2324:
2323:
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2320:
2319:
2318:
2269:
2268:
2267:
2262:
2230:
2183:Good Vibrations
2165:
2124:
2017:Industrial rock
1973:
1964:
1962:Electronic rock
1959:
1929:
1924:
1920:reggae festival
1893:
1857:
1836:Lists of events
1831:
1780:Types of events
1775:
1766:
1761:
1731:
1647:
1628:
1538:
1536:Further reading
1533:
1451:Stylus Magazine
1414:
1412:
1408:
1401:
1315:
1313:
1301:
1294:Grainger, Percy
1249:Organised Sound
1154:
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807:
799:
792:
786:Sutherland 1994
784:
777:
773:
768:
741:
718:Takehisa Kosugi
710:George Brown –
518:Cartridge Music
495:
489:
433:prepared guitar
422:
368:
366:
360:
354:
311:
305:
300:
279:
264:Cartridge Music
196:
171:used it in the
114:Thaddeus Cahill
102:Thaddeus Cahill
86:
81:
76:
56:ring modulators
22:(also known as
17:
12:
11:
5:
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1458:on 2012-09-19.
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656:Drive-in Music
649:
645:Pendulum Music
637:
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581:
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532:Lecture Series
521:
511:
488:
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469:Morton Feldman
421:
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356:Main article:
353:
350:
318:Farmers Manual
304:
301:
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296:
278:
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259:Mikrophonie II
234:Mauricio Kagel
218:spatialization
195:
192:
157:Percy Grainger
130:ondes Martenot
85:
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36:computer music
15:
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2113:Dungeon synth
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1514:0-313-29689-8
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1498:Toop, Richard
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1490:0-9517012-6-6
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1411:on 2011-08-11
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1151:. 24 May 2011
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309:Laptop battle
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247:Mikrophonie I
243:
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238:Transición II
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153:Leon Theremin
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29:
25:
21:
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2243:
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2188:
2170:Other topics
2118:Electrogrind
2056:Nintendocore
2044:New romantic
2039:Minimal wave
2012:Indietronica
1990:Electroclash
1874:Sound system
1817:Technoparade
1772:
1725:
1718:
1703:
1688:
1669:
1658:
1631:
1620:
1613:
1598:
1591:
1580:
1550:
1526:
1506:Larry Sitsky
1504:, edited by
1501:
1481:
1464:
1456:the original
1449:
1443:
1424:
1413:. Retrieved
1406:the original
1397:
1379:
1366:
1343:
1326:
1314:. Retrieved
1297:
1275:
1265:
1248:
1215:
1206:
1193:
1153:. Retrieved
1137:
1124:. Retrieved
1096:
1084:
1072:
1060:
1053:Guzdial 2011
1048:
1036:
1024:
1012:
1000:
993:Collins 2003
988:
976:
964:
952:
945:Everitt 2015
940:
928:
916:
904:
892:
880:
873:Manning 2013
868:
861:Collins 2007
856:
844:
832:
820:
813:Collins 2007
808:
801:Manning 2013
731:
721:
711:
704:
685:
675:
665:
662:Larry Austin
655:
643:
633:
630:Gordon Mumma
623:
613:
610:Modulation 2
609:
605:
595:
591:
587:
584:Alvin Lucier
575:
569:
563:
557:
551:
545:
535:
531:
527:
517:
505:
496:
461:experimental
454:
447:
441:
414:Mark Guzdial
411:
386:
385:
335:
329:
323:
280:
268:
263:
257:
251:
245:
237:
229:
223:
207:
185:
183:
172:
164:
155:as soloist.
144:
138:
118:Telharmonium
107:
94:Telharmonium
23:
19:
18:
2221:Isao Tomita
2209:Programming
2108:Synth-metal
2071:Gothic rock
2000:Electropunk
1812:Squat party
1442:"Review of
1371:PDF version
1101:Siegel 2006
1067:, p. .
1007:, p. .
995:, p. .
983:, p. .
959:, p. .
701:Peter Schat
652:Max Neuhaus
640:Steve Reich
510:(1939–1952)
473:David Tudor
387:Live coding
358:Live coding
352:Live coding
326:portmanteau
277:1970s–1980s
224:In Europe,
194:1950s–1960s
79:1800s–1940s
68:live coding
16:Music genre
2273:Categories
2257:Rock music
2151:Dance-rock
2086:Dance-punk
1910:demo party
1884:Club drugs
1807:Free party
1553:edited by
1415:2013-05-16
1316:5 February
1155:5 February
1126:2010-03-25
1017:Anon. 2009
897:Simms 1986
875:, 157–158.
837:Lewis 1991
766:References
686:Hoe het is
624:Wave Train
571:Kurzwellen
565:Prozession
491:See also:
481:Keith Rowe
429:Keith Rowe
391:improvised
362:See also:
307:See also:
303:Laptronica
271:live music
214:tape delay
181:in Paris.
165:Free Music
134:Trautonium
126:Spharophon
48:amplifiers
34:and early
2199:Mellotron
2161:Synth-pop
2156:Dark wave
2146:Crunkcore
2098:Post-rock
2061:Post-punk
2029:Krautrock
1978:Subgenres
1879:Freetekno
1077:Cage 1960
885:Toop 2002
666:Accidents
514:John Cage
502:John Cage
465:John Cage
381:Impromptu
161:theremins
64:Real-time
60:circuitry
2194:Joe Meek
2141:Big beat
2136:Art rock
2093:New rave
2066:Coldwave
2034:New wave
1822:Teknival
1802:Algorave
1637:Springer
1327:Messiaen
1031:, 60–70.
863:, 38–39.
851:, 74–75.
739:See also
722:712-9374
634:Hornpipe
614:Akroasis
594:(1967),
590:(1965),
574:(1968);
568:(1967);
562:(1966);
556:(1964);
534:(1965),
530:(1964),
364:Algorave
128:(1924),
124:(1919),
122:Theremin
2076:No wave
1862:Culture
1110:Sources
712:Splurge
676:In Tune
606:Partita
596:Vespers
528:Wolfman
336:tronica
287:Oxygene
184:Cage's
74:History
52:filters
44:timbres
1869:Deejay
1676:
1643:
1605:
1561:
1512:
1488:
1471:
1431:
1386:
1365:". In
1352:
1333:
1296:". In
1234:
1226:
899:, 395.
887:, 495.
803:, 157.
788:, 157.
734:(1969)
724:(1969)
714:(1969)
678:(1968)
668:(1968)
658:(1968)
648:(1968)
636:(1967)
626:(1967)
598:(1968)
580:(1968)
577:Spiral
553:Mixtur
538:(1968)
520:(1960)
449:Source
253:Mixtur
216:, and
209:Mantra
108:Early
1525:. In
1409:(PDF)
1402:(PDF)
1276:Cloud
815:, 39.
771:Notes
437:Tokyo
407:dance
334:"elec
298:1990s
151:with
92:This
1827:Doof
1797:Rave
1715:Disc
1674:ISBN
1641:ISBN
1603:ISBN
1559:ISBN
1510:ISBN
1486:ISBN
1469:ISBN
1429:ISBN
1384:ISBN
1350:ISBN
1331:ISBN
1318:2013
1232:ISBN
1224:ISBN
1157:2013
559:Solo
471:and
328:of "
250:and
1717:".
1708:CEC
1702:."
1693:CEC
1687:."
1663:CEC
1657:."
1585:CEC
1579:."
1253:doi
1247:",
1205:",
971:, .
477:AMM
330:lap
236:'s
116:'s
100:by
2275::
1639:.
1635:.
1448:.
1230:;
793:^
778:^
730:–
720:–
699:,
695:,
684:,
674:–
664:–
654:–
642:–
632:–
622:–
604:–
586:–
544:–
526:–
516:–
504:–
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416:.
348:.
294:.
62:.
54:,
50:,
38:.
30:,
2185:"
2181:"
1954:e
1947:t
1940:v
1756:e
1749:t
1742:v
1710:.
1695:.
1680:.
1665:.
1649:.
1609:.
1587:.
1565:.
1516:.
1492:.
1475:.
1446:"
1435:.
1418:.
1390:.
1337:.
1320:.
1304:.
1255::
1238:.
1159:.
1129:.
1103:.
1091:.
1079:.
1055:.
1043:.
1019:.
947:.
935:.
923:.
911:.
827:.
338:"
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