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Electronic music is music that employs electronic musical instruments and electronic music technology in its production.^[1] In general a distinction can be made between sound produced using electromechanical means and that produced using electronic technology.^[2] Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, and the electric guitar. Purely electronic sound production can be achieved using devices such as the Theremin, sound synthesizer, and computer.^[3]

Electronic music was once associated almost exclusively with Western art music but from the late 1960s on the availability of affordable music technology meant that music produced using electronic means became increasingly common in the popular domain.^[4] Today electronic music includes many varieties and ranges from experimental art music to popular forms such as electronic dance music.

Contents 1 History 1.1 Late 19th century to early 20th century 1.1.1 "New Aesthetic of Music" 1.1.2 Futurists 1.1.3 The 1920–1930s 1.2 Developments from 1945 to 1960 1.2.1 Musique concrète 1.2.2 Elektronische Musik 1.2.3 American electronic music 1.2.4 Columbia-Princeton 1.2.5 Stochastic music 1.2.6 Mid to late 1950s 1.3 The 1960s 1.3.1 Computer music 1.3.2 Live electronics 1.4 1970s to mid-80s 1.4.1 Affordable synthesisers 1.4.2 IRCAM 1.4.3 Rise of popular electronic music 1.4.4 Birth of MIDI 1.4.5 Digital synthesis 1.5 Late 1980s to 90s 1.5.1 Rise of dance music 1.5.2 Advancements 1.6 The 2000s 1.6.1 Circuit bending 2 See also 3 Footnotes 4 References 5 Further reading 6 External links

[edit] History

[edit] Late 19th century to early 20th century

The ability to record sounds is often connected to the production of electronic music, but not absolutely necessary for it. The earliest known sound recording device was the phonautograph, patented in 1857 by Édouard-Léon Scott de Martinville. It could record sounds visually, but was not meant to play them back.^[5]

In 1878, Thomas A. Edison patented the phonograph, which used cylinders similar to Scott's device. Although cylinders continued in use for some time, Emile Berliner developed the disc phonograph in 1887.^[6]

A significant invention, which was later to have a profound effect on electronic music, was Lee DeForest's triode audion. This was the first thermionic valve, or vacuum tube, invented in 1906, which led to the generation and amplification of electrical signals, radio broadcasting, and electronic computation, amongst other things.

Before electronic music, there was a growing desire for composers to use emerging technologies for musical purposes. Several instruments were created that employed electromechanical designs and they paved the way for the later emergence of electronic instruments. An electromechanical instrument called the Telharmonium (sometimes Teleharmonium or Dynamophone) was developed by Thaddeus Cahill in the years 1898-1912. However, simple inconvenience hindered the adoption of the Telharmonium, due to its immense size. The first electronic instrument is often viewed to be the Theremin, invented by Professor Leon Theremin circa 1919–1920.^[7] Another early electronic instrument was the Ondes Martenot, which was most famously used in the Turangalîla-Symphonie by Olivier Messiaen as well as other works by him. It was also used by other, primarily French, composers such as Andre Jolivet.^{[citation needed]}

[edit] "New Aesthetic of Music"

Just a year later, another significant contribution was made to the advent of experimental music. This was the 1907 publication of Ferruccio Busoni's Sketch of a New Esthetic of Music, which discussed the use of electrical and other new sound sources in future music. He wrote of the future of microtonal scales in music, made possible by Cahill's Dynamophone:

Only a long and careful series of experiments, and a continued training of the ear, can render this unfamiliar material approachable and plastic for the coming generation, and for Art.^[8]

Also in the Sketch of a New Esthetic of Music, Busoni states:

Music as an art, our so-called occidental music, is hardly four hundred years old; its state is one of development, perhaps the very first stage of a development beyond present conception, and we—we talk of "classics" and "hallowed traditions"! And we have talked of them for a long time! We have formulated rules, stated principles, laid down laws;—we apply laws made for maturity to a child that knows nothing of responsibility! Young as it is, this child, we already recognize that it possesses one radiant attribute which signalizes it beyond all its elder sisters. And the lawgivers will not see this marvelous attribute, lest their laws should be thrown to the winds. This child—it floats on air! It touches not the earth with its feet. It knows no law of gravitation. It is wellnigh incorporeal. Its material is transparent. It is sonorous air. It is almost Nature herself. It is—free! But freedom is something that mankind have never wholly comprehended, never realized to the full. They can neither recognize or acknowledge it. They disavow the mission of this child; they hang weights upon it. This buoyant creature must walk decently, like anybody else. It may scarcely be allowed to leap—when it were its joy to follow the line of the rainbow, and to break sunbeams with the clouds.^[9]

Through this writing, as well as personal contact, Busoni had a profound effect on many musicians and composers, perhaps most notably on his pupil, Edgard Varèse, who said:

Together we used to discuss what direction the music of the future would, or rather, should take and could not take as long as the straitjacket of the tempered system. He deplored that his own keyboard instrument had conditioned our ears to accept only an infinitesimal part of the infinite gradations of sounds in nature. He was very much interested in the electrical instruments we began to hear about, and I remember particularly one he had read of called the Dynamophone. All through his writings one finds over and over again predictions about the music of the future which have since come true. In fact, there is hardly a development that he did not foresee, as for instance in this extraordinary prophecy: 'I almost think that in the new great music, machines will also be necessary and will be assigned a share in it. Perhaps industry, too, will bring forth her share in the artistic ascent.^[10]

[edit] Futurists

In Italy, the Futurists were coming at the changing aesthetic from a different angle, but one that also affected the world of classical music. A major thrust of the Futurist philosophy was to value "noise," and to place artistic and expressive value on sounds that had previously not been considered even remotely musical. Balilla Pratella's "Technical Manifesto of Futurist Music" (1911) states that their credo is:

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.|^[11]

On 11 March 1913, futurist Luigi Russolo published his manifesto "The Art of Noises". In 1914 he held the first "art-of-noises" concert in Milan on April 21. This used his Intonarumori, described by Russolo as "acoustical noise-instruments, whose sounds (howls, roars, shuffles, gurgles, etc.) were hand-activated and projected by horns and megaphones."^[12] In June, similar concerts were held in Paris.

[edit] The 1920–1930s

This decade brought a wealth of early electronic instruments. Along with the Theremin, there is the presentation of the Ondes Martenot,^[13] which was designed to reproduce the microtonal sounds found in Hindu music,^{[citation needed]} and the Trautonium. Maurice Martenot invented the Ondes Martenot in 1928, and soon demonstrated it in Paris.

Another development, which aroused the interest of many composers, occurred in 1919–1920. In Leningrad, Leon Theremin (actually Lev Termen) built and demonstrated his Etherophone, which was later renamed the Theremin. This led to the first compositions for electronic instruments, as opposed to noisemakers and re-purposed machines. In 1929, Joseph Schillinger composed First Airphonic Suite for Theremin and Orchestra, premièred with the Cleveland Orchestra with Leon Theremin as soloist.

In 1924, Ottorino Respighi composed The Pines of Rome, which calls for the use of a phonograph recording of nightingales. However, at the time of composition, phonograph players were acoustical, not electric, and this is actually more along the lines of using a sound effect, and therefore cannot be considered an electroacoustic element in the composition.

The following year, Antheil first composed for mechanical devices, electrical noisemakers, motors and amplifiers in his unfinished opera, Mr. Bloom, as a response to the "art of noises" of Luigi Russolo, Marinetti and the other Futurists.^{[citation needed]} And just one year later in 1926, was the première of Antheil's Ballet Mécanique, using car horns, airplane propellers, saws, and anvils (but no electronics).

Recording of sounds made a leap in 1927, when American inventor J. A. O'Neill developed a recording device that used magnetically coated ribbon. However, this was a commercial failure. Two years later, Laurens Hammond established his company for the manufacture of electronic instruments. He went on to produce the Hammond organ, which was based on the principles of the Telharmonium, along with other developments including early reverberation units.^[14]

The method of photo-optic sound recording used in cinematography made it possible to obtain a visible image of a sound wave, as well as to realize the opposite goal—synthesizing a sound from an artificially drawn sound wave. The research work by the Russian optical engineer Evgeny Murzin^{[citation needed]} taken from 1937 to 1957^{[citation needed]} made it possible to create a photoelectric synthesizer—a musical instrument that combined three processes: creation, recording, and playback of music. Murzin named his invention in honour of the composer Alexander Nikolayevich Scriabin (“ANS”).^{[citation needed]}

[edit] Developments from 1945 to 1960

[edit] Musique concrète

Low-fidelity magnetic wire recorders had been in use since 1898,^{[citation needed]} and in the late 1920s the movie industry adopted optical sound-on-film recording systems based on the photoelectric cell,^{[citation needed]} but it was not until the 1930s that the German electronics company AEG developed the first practical audio tape recorder, the "Magnetophon".^{[citation needed]} During World War II AEG technicians discovered the AC biasing technique, which dramatically improved the fidlelity of magnetic recording by adding an inaudible high-frequency tone, and by 1943 AEG had developed the first stereo tape recorders.^{[citation needed]} However these devices and techniques remained a secret outside Germany until the end of WWII, when captured Magnetophon recorders and reels of Farben recording tape were brought back to the United States by Jack Mullin and others.^{[citation needed]} These captured recorders and tapes were the basis for the development of the first commercial tape recorder, the Model 200, manufactured by the American Ampex company (Angus 1984) with support from entertainer Bing Crosby, who became the first performer to record radio broadcasts and studio master recordings on tape.^{[citation needed]}

Magnetic audio tape opened up a vast new range of sonic possibilities to musicians, composers, producers and engineers. Audio tape was relatively cheap and very reliable, and its fidelity of reproduction was better than any audio medium to date. Most importantly, unlike discs, it offered the same plasticity of use as film. Tape can be slowed down, speeded up or run even backwards during recording or playback, with often startling effect. It can be physically edited in much the same way as film, allowing for unwanted sections of a recording to be seamlessly removed or replaced; likewise, segments of tape from other sources can be edited in. Tape can also be joined to form endless loops that continually play repeated patterns of pre-recorded material. Audio amplification and mixing equipment further expanded tape's capabilities as a production medium, allowing multiple pre-taped recordings (and/or live sounds, speech or music) to be mixed together and simultaneously recorded onto another tape with relatively little loss of fidelity. Another unforseen windfall was that tape recorders can be relatively easily modified to become echo machines that produce complex, controllable, high-quality echo and reverberation effects (most of which would be practically impossible to achieve by mechanical means).

It wasn't long before composers began using the tape recorder to develop a new technique for composition called Musique concrète. This technique involved editing together recorded fragments of natural and industrial sounds.^[15] The first pieces of musique concrète were assembled by Pierre Schaeffer, who went on to collaborate with Pierre Henry.

On 5 October 1948, Radiodiffusion Française (RDF) broadcast composer Pierre Schaeffer's Etude aux chemins de fer. This was the first "movement" of Cinq études de bruits, and marked the beginning of studio realizations and musique concrète (or acousmatic music). Schaeffer employed a disk-cutting lathe, four turntables, a four-channel mixer, filters, an echo chamber, and a mobile recording unit.

Not long after this, Henry began collaborating with Schaeffer, a partnership that would have profound and lasting affects on the direction of electronic music. Another associate of Schaeffer, Edgard Varèse began work on Déserts, a work for chamber orchestra and tape. The tape parts were created at Pierre Schaeffer's studio, and were later revised at Columbia University.

In 1950, Schaeffer gave the first public (non-broadcast) concert of musique concrète at the Ecole Normale de Musique de Paris. "Schaeffer used a PA system, several turntables, and mixers. The performance did not go well, as creating live montages with turntables had never been done before."^[16] Later that same year, Pierre Henry collaborated with Schaeffer on Symphonie pour un homme seul (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, Orpheus, for concrete sounds and voices.

[edit] Elektronische Musik

Karlheinz Stockhausen worked briefly in Schaeffer's studio in 1952, and afterward for many years at the WDR Cologne's Studio for Electronic Music.

In Cologne, what would become the most famous electronic music studio in the world was officially opened at the radio studios of the NWDR in 1953, though it had been in the planning stages as early as 1950 and early compositions were made and broadcast in 1951.^[17] The brain child of Werner Meyer-Eppler, Robert Beyer, and Herbert Eimert (who became its first director), the studio was soon joined by Karlheinz Stockhausen and Gottfried Michael Koenig. In his 1949 thesis Elektronische Klangerzeugung: Elektronische Musik und Synthetische Sprache, Meyer-Eppler conceived the idea to synthesize music entirely from electronically produced signals; in this way, elektronische Musik was sharply differentiated from French musique concrète, which used sounds recorded from acoustical sources.^[18]

With Stockhausen and Mauricio Kagel in residence, it became a year-round hive of charismatic avante-gardism [sic]"^[19] on two occasions combining electronically generated sounds with relatively conventional orchestras—in Mixtur (1964) and Hymnen, dritte Region mit Orchester (1967).^[20] 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"^[21] More recently, Stockhausen turned to producing electronic music in his own studio in Kürten, his last work in the genre being Cosmic Pulses (2007).

[edit] American electronic music

In the United States, sounds were being created electronically and used in composition, as exemplified in a piece by Morton Feldman called Marginal Intersection. This piece is scored for winds, brass, percussion, strings, 2 oscillators, and sound effects of riveting, and the score uses Feldman's graph notation.

The Music for Magnetic Tape Project was formed by members of the New York School (John Cage, Earle Brown, Christian Wolff, David Tudor, and Morton Feldman),^[22] 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.|^[23]

Cage completed Williams Mix in 1953 while working with the Music for Magnetic Tape Project.^[24] The group had no permanent facility, and had to rely on borrowed time in commercial sound studios, including the studio of Louis and Bebe Barron.

[edit] Columbia-Princeton

Also in the U.S., in the same year, significant developments were happening in New York City. Columbia University purchased its first tape recorder—a professional Ampex machine—for the purpose of recording 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.

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."^[25]

Ussachevsky said later: "I suddenly realized that the tape recorder could be treated as an instrument of sound transformation."^[25]

On Thursday, May 8, 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 Transposition, Reverberation, Experiment, Composition, and Underwater Valse. 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."^[25] 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."^[26]

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 composition. Both of us were fluent improvisors and the medium fired our imaginations."^[26] 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)."^[26]

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 Leopold Stokowski at the Museum of Modern Art in New York. After some hesitation, we agreed. . . . Henry Cowell 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 eventually completed the compositions."^[26]

Two months later, on October 28, Vladimir Ussachevsky and Otto Luening presented the first Tape Music concert in the United States. The concert included Luening's Fantasy in Space (1952)—"an impressionistic virtuoso piece"^[26] using manipulated recordings of flute—and Low Speed (1952), an "exotic composition that took the flute far below its natural range."^[26] Both pieces were created at the home of Henry Cowell in Woodstock, NY. 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 [flute] sequences for the tape recorder. Ussachevsky then and there put them through electronic transformations."^[27]

1954 saw the advent of what would now be considered authentic electric plus acoustic compositions—acoustic instrumentation augmented/accompanied by recordings of manipulated and/or electronically generated sound. Three major works were premiered that year: Varèse's Déserts, for chamber ensemble and tape sounds, and two works by Luening and Ussachevsky: Rhapsodic Variations for the Louisville Symphony and A Poem in Cycles and Bells, 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 alternates with mutated sounds of factory noises and ship sirens and motors, coming from two loudspeakers."^[28]

Déserts was premiered in Paris in the first stereo broadcast on French Radio. At the German premiere in Hamburg, which was conducted by Bruno Maderna, the tape controls were operated by Karlheinz Stockhausen.^[28] The title Déserts, 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 man is alone, a world of mystery and essential loneliness."^[29]

[edit] Stochastic music

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An important new development was the advent of computers for the purpose of composing music, as opposed to manipulating or creating sounds. Iannis Xenakis began what is called "musique stochastique," or "stochastic music," which is a method of composing that employs mathematical probability systems. Different probability algorithms were used to create a piece under a set of parameters. Xenakis used graph paper and a ruler to aid in calculating the velocity trajectories of glissandi for his orchestral composition Metastasis (1953–54), but later turned to the use of computers to compose pieces like ST/4 for string quartet and ST/48 for orchestra (both 1962).

[edit] Mid to late 1950s

In 1954, Stockhausen composed his Elektronische Studie II—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 Studio de Fonologia (already mentioned), a studio at the NHK in Tokyo founded by Toshiro Mayuzumi, and the Phillips studio at Eindhoven, the Netherlands, which moved to the University of Utrecht as the Institute of Sonology in 1960.

The score for Forbidden Planet, by Louis and Bebe Barron,^[30] was entirely composed using custom built electronic circuits in 1956.

The world's first computer to play music was CSIRAC which was designed and built by Trevor Pearcey 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 Colonel Bogey March^[31] of which no known recordings exist. However, CSIRAC played standard repertoire and was not used to extend musical thinking or composition practice which is current computer music practice. CSIRAC was never recorded, but the music played was accurately reconstructed (reference 12). The oldest known recordings of computer generated music were played by the Ferranti Mark I computer, a commercial version of the Baby Machine from the University of Manchester in the autumn of 1951. The music program was written by Christopher Strachey.

The impact of computers continued in 1956. Lejaren Hiller and Leonard Isaacson composed Iliac Suite for string quartet, the first complete work of computer-assisted composition using algorithmic composition. "... Hiller postulated that a computer could be taught the rules of a particular style and then called on to compose accordingly."^[32] Later developments included the work of Max Mathews at Bell Laboratories, who developed the influential MUSIC I program. Vocoder technology was also a major development in this early era.

In 1956 Stockhausen composed Gesang der Jünglinge, the first major work of the Cologne studio, based on a text from the Book of Daniel. An important technological development of that year was the invention of the Clavivox synthesizer by Raymond Scott with subassembly by Robert Moog.

The RCA Mark II Sound Synthesizer made its debut in 1957. Unlike the earlier Theremin and Ondes Martenot, it was difficult to use, required extensive programming, and could not be played in real time. Sometimes called the first electronic synthesizer, the RCA Mark II Sound Synthesizer used vacuum tube oscillators and incorporated the first electronic music sequencer driven by two punched-paper tapes. It was designed by RCA and installed at the Columbia-Princeton Electronic Music Center where it remains to this day.^{[citation needed]}

In 1957, MUSIC, one of the first computer programs to play electronic music, was created by Max Mathews at Bell Laboratories.

Later, Milton Babbitt, influenced in his student years by Schoenberg's "revolution in musical thought" began applying serial techniques to electronic music.^{[citation needed]}

From 1950 to 1960 the vocabulary of tape music shifted from the fairly pure experimental works which characterized the classic Paris and Cologne schools to more complex and expressive works which explored a wide range of compositional styles. More and more works began to appear by the mid-1950s which addressed the concept of combining taped sounds with live instruments and voices. There was also a tentative interest, and a few attempts, at incorporating taped electronic sounds into theatrical works.^[33]

The public remained interested in the new sounds being created around the world, as can be deduced by the inclusion of Varèse's Poeme Electronique, which was played over four hundred loudspeakers at the Phillips Pavilion of the 1958 Brussels World Fair. That same year, Mauricio Kagel, an Argentine composer, composed Transición II. The work was realized at the WDR studio in Cologne. Two musicians perform on a piano, one in the traditional manner, the other playing on the strings, frame, and case. Two other performers use 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.

[edit] The 1960s

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 composition of Luening's Gargoyles for violin and tape as well as the premiere of Stockhausen's Kontakte 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 Kontakte, 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."^[34]

The first of these synthesizers to appear was the Buchla. Appearing in 1963, it was the product of an effort spearheaded by musique concrète composer Morton Subotnick. In 1962, working with a grant from the Rockefeller Foundation, Subotnick and business partner Ramon Sender hired electrical engineer Don Buchla to build a "black box" for composition.^{[citation needed]}

The theremin 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., Bernard Herrmann's classic score for The Day the Earth Stood Still). During the 1960s the theremin made occasional appearances in popular music.

In the UK in this period, the BBC Radiophonic Workshop (established in 1958) emerged one of the most productive and widely known electronic music studios in the world, thanks in large measure to their work on the BBC science-fiction series Doctor Who. One of the most influential British electronic artists in this period was Workshop staffer Delia Derbyshire, who added a keen musical ear to her great technical prowess; she is famous for her landmark 1963 electronic realisation of the iconic Doctor Who theme, composed by Ron Grainer, arguably the most widely known piece of electronic music in the world. Derbyshire and her colleagues -- including Dick Mills, Brian Hodgson (creator of the TARDIS sound effect), David Cain, John Baker, Paddy Kingsland and Peter Howell -- collectively created a large and very varied body of work that includes station ID stings, program jingles, soundtracks, atmospheres and sound effects for BBC TV and radio stations and programs.

Milton Babbitt composed his first electronic work using the synthesizer—his Composition for Synthesizer—which he created using the RCA synthesizer at CPEMC.

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 limits of the human performer?" but rather "What are the limits of human hearing?^[35]

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 Déserts. He was assisted by Mario Davidovsky and Bülent Arel.^[36]

The intense activity occurring at CPEMC and elsewhere inspired the establishment of the San Francisco Tape Music Center in 1963 by Morton Subotnick, with additional members Pauline Oliveros, Ramon Sender, Terry Riley, and Anthony Martin. The center soon incorporated a voltage-controlled synthesizer based around automated sequencing by Don Buchla, and used in album-length Subotnick pieces such as Silver Apples of the Moon (1967) and The Wild Bull (1968).

Later, the Center moved to Mills College, directed by Pauline Oliveros, where it is today known as the Center for Contemporary Music.^[37][38]

Back across the Atlantic, in Czechoslovakia, 1964, the First Seminar of Electronic Music was held at the Radio Broadcast Station in Plzen. Four government-sanctioned electroacoustic music studios were later established in the 1960s under the auspices of extant radio and television stations.

New instruments continued to develop. One of the most significant breakthroughs came in 1964, when Robert Moog introduced the Moog synthesizer, the first integrated modular voltage controlled analog synthesiser system. Moog Music later introduced a smaller synthesizer with a built-in keyboard and hardwired signal path called The Minimoog, which was introduced to many composers and universities and beacme widely used by popular musicians.

A well-known example of the use of Moog's full-sized Moog Modular synthesizer is the Switched-On Bach album by Wendy Carlos, which triggered a craze for synthesiser music. This decade saw construction of more than 50 electronic music studios in the USA, mostly in universities.^{[citation needed]}

Pietro Grossi 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 in order to experiment with electronic sound and composition.

[edit] Computer music

CSIRAC, the first computer to play music, did so publicly in August 1951 (reference 12).^[39] One of the first large-scale public demonstrations of computer music was a pre-recorded national radio broadcast on the NBC radio network program Monitor on February 10, 1962. In 1961, LaFarr Stuart programmed Iowa State University's CYCLONE computer (a derivative of the Illiac) to play simple, recognizable tunes through an amplified speaker that had been attached to the system originally for administrative and diagnostic purposes. An interview with Mr. Stuart accompanied his computer music.

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 MUSIC V, a direct digital synthesis language (Mattis 2001).

[edit] Live electronics

In America, live electronics were pioneered in the early 1960s by members of Milton Cohen's Space Theater in Ann Arbor, Michigan, including Gordon Mumma and Robert Ashley, by individuals such as David Tudor around 1965, and The Sonic Arts Union, founded in 1966 by Gordon Mumma, Robert Ashley, Alvin Lucier, and David Behrman. ONCE Festivals, featuring multimedia theater music, were organized by Robert Ashley and Gordon Mumma in Ann Arbor between 1958 and 1969. In 1960, John Cage composed Cartridge Music, one of the earliest live-electronic works.

In Europe in 1964, Karlheinz Stockhausen composed Mikrophonie I for tam-tam, hand-held microphones, filters, and potentiometers, and Mixtur for orchestra, four sine-wave generators, and four ring modulators. In 1965 he composed Mikrophonie II for choir, Hammond organ, and ring modulators.

In 1966-67 Reed Ghazala discovered and began to teach "circuit bending"—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 John Cage’s aleatoric music concept.^[40]

[edit] 1970s to mid-80s

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In 1970, Charles Wuorinen composed Time's Encomium, the first Pulitzer Prize winner for an entirely electronic composition

[edit] Affordable synthesisers

Released in 1970 by Moog Music the Mini-Moog was among the first widely available, portable and relatively affordable synthesizers. It became the most widely used synthesizer in both popular and electronic art music.^[41]

[edit] IRCAM

IRCAM in Paris became a major center for computer music research and realization and development of the Sogitec 4X computer system,^[42] featuring then revolutionary real-time digital signal processing. Pierre Boulez's Répons (1981) for 24 musicians and 6 soloists used the 4X to transform and route soloists to a loudspeaker system.

[edit] Rise of popular electronic music

Throughout the seventies bands such as The Residents and Can spearheaded an experimental music movement that incorporated electronic sounds. Can were one of the first bands to use tape loops for rhythm sections and The Residents created their own custom built drum machine. The German band Kraftwerk took a more purely electronic approach on records such as 1974's Autobahn. Other artists in the 1970s who composed primarily electronic instrumental music and managed to reach beyond the academic sphere and into the popular realm, were Jean Michel Jarre, Tangerine Dream, Klaus Schulze, and Vangelis. Also in the 1970s, rock bands from Genesis to The Cars began incorporating synthesizers into traditional rock arrangements. Notably, British synthesist Brian Eno collaborated with rock performers such as David Bowie and Roxy Music.

In 1979, UK recording artist Gary Numan helped to bring electronic music into the wider marketplace of pop music with his hit "Cars" from the album The Pleasure Principle. Other successful hit electronic singles in the early 1980s included "Don't You Want Me" by the Human League, "Whip It!" by Devo, and finally 1983's "Blue Monday" by New Order, which became the best-selling 12-inch single of all time. The Swiss duo Yello, Trevor Horn's Art of Noise, Naked Eyes, Prince, Kate Bush, Peter Gabriel, and Depeche Mode further incorporated early samplers like the Synclavier, Fairlight CMI, and E-mu Emulator into their hit records. By 1984, synthesizers and samplers were prominently featured in much popular music.

[edit] Birth of MIDI

In 1980, a group of musicians and music merchants met to standardize an interface by which new instruments could communicate control instructions with other instruments and the prevalent microcomputer. This standard was dubbed MIDI (Musical Instrument Digital Interface). A paper was authored by Dave Smith of Sequential Circuits and proposed to the Audio Engineering Society in 1981. Then, in August 1983, the MIDI Specification 1.0 was finalized.

The advent of 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 in synchrony, with each device responding according to conditions predetermined by the composer.

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

Miller Puckette developed graphic signal-processing software for 4X called Max (after Max Mathews) and later ported it to Macintosh (with Dave Zicarelli extending it for Opcode)^[43] for real-time MIDI control, bringing algorithmic composition availability to most composers with modest computer programming background.

[edit] Digital synthesis

In 1979 the Australian Fairlight company released the Fairlight CMI (Computer Musical Instrument) the first practical polyphonic digital synthesiser/sampler system. In 1983, Yamaha introduced the first stand-alone digital synthesizer, the DX-7. It used frequency modulation synthesis (FM synthesis), first experimented with by John Chowning at Stanford during the late sixties.^[44]

Barry Vercoe describes one of his experiences with early computer sounds:

At IRCAM in Paris in 1982, flutist Larry Beauregard had connected his flute to DiGiugno's 4X audio processor, enabling real-time pitch-following. On a Guggenheim 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 Handel flute sonatas, Boulez's Sonatine for flute and piano and by 1984 my own Synapse II 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 would continually surprise my Synthetic Performer. In 1985 we solved the tempo rubato problem by incorporating learning from rehearsals (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 MAX.^[45]

[edit] Late 1980s to 90s

[edit] Rise of dance music

Please help improve this section by expanding it. Further information might be found on the talk page. (June 2008)

[edit] Advancements

In the 1990s, interactive computer-assisted performance started to become possible, with one example described as follows:

Automated Harmonization of Melody in Real Time: An interactive computer system, developed in collaboration with flutist/composer Pedro Eustache, for realtime melodic analysis and harmonic accompaniment. Based on a novel scheme of harmonization devised by Eustache, the software analyzes the tonal melodic function of incoming notes, and instantaneously performs an orchestrated harmonization of the melody. The software was originally designed for performance by Eustache on Yamaha WX7 wind controller, and was used in his composition Tetelestai, premiered in Irvine, California in March 1999.^[46]

Other recent developments included the Tod Machover (MIT and IRCAM) composition Begin Again Again for "hypercello," an interactive system of sensors measuring physical movements of the cellist. Max Mathews developed the "Conductor" program for real-time tempo, dynamic and timbre control of a pre-input electronic score. Morton Subotnick released a multimedia CD-ROM All My Hummingbirds Have Alibis.

[edit] The 2000s

In recent years, as computer technology has become more accessible and music software has advanced, interacting with music production technology is now possible using means that bear no relationship to traditional musical performance practices:^[47] for instance, laptop performance (laptronica)^[48] and live coding.^[49]

In the last decade a number of software-based virtual studio environments have emerged, with products such as Propellerhead's Reason and Ableton Live finding popular appeal.^[50] Such tools provide viable and cost-effective alternatives to typical hardware-based production studios, and thanks to advances in microprocessor technology, it is now possible to create high quality music using little more than a single laptop computer. Such advances have, for better or for worse, democratized music creation,^[51] leading to a massive increase in the amount of home-produced electronic music available to the general public via the internet.

Artists can now also individuate their production practice by creating personalized software synthesizers, effects modules, and various composition environments. Devices that once existed exclusively in the hardware domain can easily have virtual counterparts. Some of the more popular software tools for achieving such ends are commercial releases such as Max/Msp and Reaktor and freeware packages such as Pure Data, SuperCollider, and ChucK.

[edit] Circuit bending

A practice originally pioneered by Reed Ghazala in the 1960s; it has recently found significant popular appeal. Circuit bending is the creative short-circuiting of low voltage, battery-powered electronic audio devices such as guitar effects, children's toys and small synthesizers to create new musical instruments and sound generators.^{[citation needed]} Emphasizing spontaneity and randomness, the techniques of circuit bending have been commonly associated with noise music, though many more conventional contemporary musicians and musical groups have been known to experiment with "bent" instruments.^{[citation needed]}

[edit] See also

• Computer Music
• Acousmatic music
• Electroacoustic music
• Experimental music genres
• NIME
• Noise music
• Sound sculpture
• Sound installation
• Sound art
• Progressive electronic music
• Video game music
• Winter Music Conference
• Schaffel music
• Dick Raaymakers (Kid Baltan)
• Raymond Scott
• Beaver & Krause
• Spectral music
• Live PA
• Musique concrète

[edit] Footnotes

[edit] References

• Angus, Robert. 1984. "History of Magnetic Recording, Part One". Audio Magazine (August): 27–33.
• Anonymous. 1972. Liner notes to The Varese Album. Columbia Records MG 31078.
• Bassingthwaighte, Sarah Louise. 2002. "Electroacoustic Music for the Flute". DMA dissertation. Seattle: University of Washington.
• Bayly, Richard. 1982–83. "Ussachevsky on Varèse: An Interview April 24, 1979 at Goucher College," Perspectives of New Music 21 (Fall-Winter 1982 and Spring-Summer 1983):145–51.
• Brick, Howard. 2000. Age of Contradiction: American Thought and Culture in the 1960s. Ithaca: Cornell University Press. ISBN 0801487005 (Originally published: New York: Twayne, 1998)
• Busoni, Ferruccio. 1962. '"Sketch of a New Esthetic of Music". Translated by Dr. Th. Baker and originally published in 1911 by G. Schirmer. Reprinted in Three Classics in the Aesthetic of Music: Monsieur Croche the Dilettante Hater, by Claude Debussy; Sketch of a New Esthetic of Music, by Ferruccio Busoni; Essays before a Sonata, by Charles E. Ives, 73–102. New York: Dover Publications, Inc.
• Chadabe Joel. 1997. Electric Sound: The Past and Promise of Electronic Music. Upper Saddle River, New Jersey: Prentice Hall.
• Chadabe, Joel. 2004. "Electronic Music and Life". Organised Sound 9, no. 1: 3–6.
• Chowning, John. 1973. "The Synthesis of Complex Audio Spectra by Means of Frequency Modulation". Journal of the Audio Engineering Society 21, no. 7:526–34.
• Collins, Nick. 2003. "Generative Music and Laptop Performance". Contemporary Music Review 22, no. 4:67-79.
• Dobrian, Christopher. 2002. "Current Research Projects". Accessed 29 June 2007.
• Doornbusch, Paul (2005). The Music of CSIRAC, Australia's first computer music. Common Ground. ISBN 1-86335-569-3. http://thehumanities.cgpublisher.com/product/pub.61/prod.10. 
• Donhauser, Peter. 2007. Elektrische Klangmaschinen. Vienna: Boehlau.
• Dunn, David. 1992 "A History of Electronic Music Pioneers", in catalog accompanying the exhibition Eigenwelt der Apparatewelt: Pioneers of Electronic Art, curated by Woody and Steina Vasulka and presented as part of Ars Electronica 1992, in Linz, Austria.
• Eimert, Herbert. 1958. "What Is Electronic Music?" Die Reihe 1 (English edition): 1–10.
• Eimert, Herbert. 1972. "How Electronic Music Began." Musical Times 113, no. 1550 (April): 347 & 349. (First published in German in Melos 39 (Jan.-Feb. 1972): 42–44.)
• Emmerson, Simon. 1986. The Language of Electroacoustic Music. London: Macmillan.
• Emmerson, Simon (ed.). 2000. Music, Electronic Media, and Culture. Aldershot (Hants.), Burlington (VT): Ashgate. ISBN 0754601099
• Emmerson, Simon. 2007. Living Electronic Music. Aldershot (Hants.), Burlington (VT): Ashgate. ISBN 0754655466 (cloth) ISBN 0754655482 (pbk)
• Gard, Stephen. 2004. "Nasty Noises: ‘Error’ as a Compositional Element". Sydney Conservatorium of Music, Sydney eScholarship Repository.
• Griffiths, Paul. 1995. Modern Music and After: Directions Since 1945. Oxford and New York: Oxford University Press. ISBN 0198165781 (cloth) ISBN 0198165110 (pbk)
• Holmes, Thomas B. 2002. Electronic and Experimental Music: Pioneers in Technology and Composition. Second edition. London: Routledge Music/Songbooks. ISBN 0415936438 (cloth) ISBN 0415936446 (pbk)
• Kurtz, Michael. 1992. Stockhausen: A Biography. Trans. by Richard Toop. London: Faber and Faber. ISBN 0571143237
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• Lebrecht, Norman. 1996. The Companion to 20th-Century Music. Da Capo Press. ISBN 0306807343 (pbk)
• Luening, Otto. 1964. "Some Random Remarks About Electronic Music", Journal of Music Theory 8, no. 1 (Spring): 89–98.
• Luening, Otto. 1968. "An Unfinished History of Electronic Music". Music Educators Journal 55, no. 3 (November): 42–49, 135–42, 145.
• Macon, Edward L. 1997. Rocking the Classics: English Progressive Rock and the Counterculture. Oxford and New York: Oxford University Press. ISBN 0195098870
• Mattis, Olivia. 2001. "Mathews, Max V(ernon)". The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie and John Tyrell. London: Macmillan.
• Morawska-Büngeler, Marietta. 1988. Schwingende Elektronen: Eine Dokumentation über das Studio für Elektronische Musik des Westdeutschen Rundfunk in Köln 1951–1986. Cologne-Rodenkirchen: P. J. Tonger Musikverlag.
• Norman, Katharine. 2004. Sounding Art: Eight Literary Excursions through Electronic Music. Aldershot: Ashgate Publishing, Ltd. ISBN 0754604268
• Peyser, Joan. 1995. The Music of My Time. White Plains, N.Y.: Pro/AM Music Resources Inc.; London: Kahn and Averill. ISBN 0912483997; ISBN 1871082579
• Roads, Curtis. 1996. The Computer Music Tutorial. Cambridge, MA: MIT Press. ISBN 0262181584 (cloth) ISBN 0262680823 (pbk)
• Rosen, Jody. 2008. "Researchers Play Tune Recorded before Edison". New York Times (27 March).
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• Snyder, Jeff. [n.d.]. "Pierre Schaeffer: Inventor of Musique Concrete". Accessed May 2002.
• Stockhausen, Karlheinz. 1978. Texte zur Musik 4. Cologne: DuMont Buchverlag. ISBN 3-7701-1078-1
• Ungeheuer, Elena. 1992. Wie die elektronische Musik "erfunden" wurde: Quellenstudie zu Werner Meyer-Epplers musikalischem Entwurf zwischen 1949 und 1953. Kölner Schriften zur neuen Musik 2. Mainz and New York: Schott. ISBN 3795718910
• Vercoe, Barry. 2000. "Forward," in The Csound Book: Perspectives in Software Synthesis, Sound Design, Signal Processing, and Programming, edited by Richard Boulanger, xxvii–xxx. Cambridge, Mass.: MIT Press.
• Watson, Scott. 2005. "A Return to Modernism". Music Education Technology Magazine (February)
• Weidenaar, Reynold. 1995. Magic Music from the Telharmonium: The Story of the First Music Synthesizer. Metuchen, NJ: Scarecrow Press, Inc.. ISBN 0-8108-2692-5
• Zimmer, Dave. 2000. Crosby, Stills, and Nash: The Authorized Biography. Photography by Henry Diltz. New York: Da Capo Press. ISBN 0-306-80974-5

[edit] Further reading

• Bogdanov, Vladimir, Chris Woodstra, Stephen Thomas Erlewine, and John Bush (editors). 2001. The All Music Guide to Electronica: The Definitive Guide to Electronic Music. AMG Allmusic Series. San Francisco: Backbeat Books. ISBN 0-87930-628-9
• Cummins, James. 2008. Ambrosia: About a Culture - An Investigation of Electronica Music and Party Culture. Toronto, ON: Clark-Nova Books. ISBN 978-0-978489-21-2
• Heifetz, Robin J. (ed.). 1989. "On The Wires of Our Nerves: The Art of Electroacoustic Music". Cranbury, NJ: Associated University Presses. ISBN 0838751555
• Kahn Douglas. 1999. Noise, Water, Meat: A History of Sound in the Arts. Cambridge, MA: MIT Press. ISBN 0262112434 New edition 2001, ISBN 0262611724
• Kettlewell, Ben. 2001. Electronic Music Pioneers. [N.p.]: Course Technology, Inc. ISBN 1-931140-17-0
• Licata, Thomas (ed.). 2002. Electroacoustic Music: Analytical Perspectives. Westport, CT: Greenwood Press. ISBN 0313314209
• Manning, Peter. 2004. Electronic and Computer Music. Revised and expanded edition. Oxford and New York: Oxford University Press. ISBN 0195144848 (cloth) ISBN 0195170857 (pbk)
• Prendergast, Mark. 2001. The Ambient Century: From Mahler to Trance: The Evolution of Sound in the Electronic Age. Forward [sic] by Brian Eno. New York: Bloomsbury. ISBN 0-7475-4213-9, ISBN 1-58234-134-6 (hardcover eds.) ISBN 1-58234-323-3 (paper)
• Reynolds, Simon. 1998. Energy Flash: A Journey Through Rave Music and Dance Culture. London: Pan Macmillan. ISBN 0-330-35056-0 (US title, Generation Ecstasy: Into the World of Techno and Rave Culture. Boston: Little, Brown, 1998 ISBN 0316741116; New York: Routledge, 1999 ISBN 0-415-92373-5)
• Schaefer, John. 1987. New Sounds: A Listener's Guide to New Music. New York: Harper Collins. ISBN 0-06-097081-2
• Shapiro, Peter (editor). 2000. Modulations: a History of Electronic Music: Throbbing Words on Sound. New York: Caipirinha Productions ISBN 1-891024-06-X
• Sicko, Dan. 1999. Techno Rebels: The Renegades of Electronic Funk. New York: Billboard Books. ISBN 0-8230-8428-0

[edit] External links

Wikiquote has a collection of quotations related to: Electronic music

• electronicmusic.com - News, Reviews, Interviews and Artist Profiles
• ElectronicMp3s.com - Electronic Ezine Electronic Artist & Mp3s
• Pioneers of electronic music - A series of articles highlighting pioneers of electronic music
• www.ElectronicMusicMp3s.com - Magazine dedicated to Electronic & Experimental Music
• ElectronicaMp3s.net - Electronica Artists Mp3s
• History of electronic musical instruments
• Art of the States: electronic - Small collection of electronic works by American composers
• CSIRAC homepage – From the Computation Laboratory at the University of Melbourne's Dept of Computer Science and Software Engineering
• Pietro Grossi official web site (Italian)
• Skullz-Group:Electronic Music Portal & Community of DJs
• [1] Avant Garde Blog and Forum.
• Visu@lMusiC...interactive Net Visu@lMusiC