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:
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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
2452:
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
2356:
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
2301:
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
1862:
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
7729:
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
1215:
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
8464:
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
5214:
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
544:
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
7760:
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
950:
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
6634:
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
1431:
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
1406:
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
1501:
3053:
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
2155:
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
1418:
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).
1419:
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)."
972:
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
3436:
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
1175:
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
4583:
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
4100:
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
8661:
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
4437:
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
4397:
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
1651:
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
8227:
4155:
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
977:
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
2088:
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
4890:
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
2390:
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
8231:
5042:
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
1407:
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
6014:
4052:
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.
1403:
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.
2306:
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.
4163:
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
1367:
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
2514:
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
1921:
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.
1097:
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.
3818:
Some synth-pop bands created futuristic visual styles of themselves to reinforce the idea of electronic sounds were linked primarily with technology, as Americans
3498:
1435:
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.
1643:
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
12005:
9255:
4222:
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
1839:
was not influential among Japanese composers, who were mainly interested in overcoming the restrictions of human performance. This led to several Japanese
1496:
5026:
finding popular appeal. Such tools provide viable and cost-effective alternatives to typical hardware-based production studios, and thanks to advances in
2368:
music critic Alfred Frankenstein commented, "the possibilities of the space-sound continuum have seldom been so extensively explored". In 1967, the first
846:
1795:, which he was unaware of, while Shibata foresaw the development of synthesizers and predicted a drastic change in music. Sony began producing popular
1559:
8116:
6860:
3907:
3224:
857:
678:
11812:
10175:
6011:
11006:
3235:
6071:
4814:
On the other hand, a broad group of electronic-based music styles intended for listening rather than strictly for dancing became known under the "
2266:
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
795:
to adopt them. They were typically used within orchestras, and most composers wrote parts for the theremin that could otherwise be performed with
2035:
Synthesizer extensively in various compositions. One of the most influential composers associated with the early years of the studio was Egypt's
1460:, was entirely composed using custom-built electronic circuits and tape recorders in 1956 (but no synthesizers in the modern sense of the word).
2832:
electric organ. Korg's Stageman and Mini Pops series were notable for "natural metallic percussion" sounds and incorporating controls for drum "
11553:
461:
1223:
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
7812:
3837:
in aesthetics, sound and lifestyle from that of electronic pop artists by fans of both sides, achieved worldwide success with themes as 1983
3540:
2283:
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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
2824:
patented a fully electronic drum machine. Korg released the Donca-Matic DC-11 electronic drum machine in 1966, which they followed with the
692:
the sound of several orchestral instruments with reasonable precision. It achieved viable public interest and made commercial progress into
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4471:) for real-time MIDI control, bringing algorithmic composition availability to most composers with modest computer programming background.
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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
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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
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1054:
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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
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17:
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In Cologne, what would become the most famous electronic music studio in the world, was officially opened at the radio studios of the
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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
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Wie die elektronische Musik "erfunden" wurde...: Quellenstudie zu Werner Meyer-Epplers musikalischem Entwurf zwischen 1949 und 1953
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3492:) used to be arranged and blended with electronic effects and/or music as well, which became much more prominent in the mid-1980s.
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Founded by Murzin in 1966, the Moscow Experimental Electronic Music Studio became the base for a new generation of experimenters –
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3031:, the electronic manipulation of spatiality, the sonic electronic manipulation of pre-recorded musical materials from mass media,
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and Minao Shibata independently explored possible uses for electronic technology to produce music. Takemitsu had ideas similar to
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into the emerging genre would eventually support Japan's popularity in the development of music technology several decades later.
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became the largest street party with over 1 million visitors, inspiring other such popular celebrations of electronic music.
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10044:
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4638:. The first band to use it was Yellow Magic Orchestra in 1980, and it would later gain widespread popularity with the release of
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about computers playing music, possibly because computers would make noises, but there is no evidence that they actually did it.
332:
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has advanced, interacting with music production technology is now possible using means that bear no relationship to traditional
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making them part of their sound. Instrumental prog rock was particularly significant in continental Europe, allowing bands like
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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
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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.
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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
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and harmonic sounds. Techniques such as a long echo delay were also used. Other notable artists within the genre include
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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
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9296:
9130:—Best Audio Editing Software of the Year—1st Abelton Live, 4th Reason. Best Audio DJ Software of the Year—Abelton Live.
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2372:, a "sound-space continuum" opened, holding weekly performances through 1970. In 1975, enabled by seed money from the
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1093:, four turntables, a four-channel mixer, filters, an echo chamber, and a mobile recording unit. Not long after this,
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32:
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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",
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2500:
1495:. In the 1930s, Nikolai Ananyev invented "sonar", and engineer Alexander Gurov — neoviolena, I. Ilsarov — ilston.,
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842:
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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,
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a research project ('Talmark') aimed at the development of a novel musical notation system for electronic music.
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1089:, and marked the beginning of studio realizations and musique concrète (or acousmatic art). Schaeffer employed a
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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".
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6173:[An epoch-defining new musical instrument was developed by a young engineer Mr.Yamashita in Hamamatsu].
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or The Hands inspired international artists to work at STEIM which entertained a residency program since 1992.
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3613:
2499:" and this is recognised as the earliest recording of a computer to play music. This recording can be heard at
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on the Ferranti Mark I, late in 1951. Later that year, short extracts of three pieces were recorded there by a
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7116:
2737:; another live performance was with Kurzweil Baroque Ensemble for "Bach at the Beacon" in 1997. In June 2018,
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The category "indie electronic" (or "indietronica") has been used to refer to a wave of groups with roots in
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2012:
2005:
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482:
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10606:, in V. Bogdanov, C. Woodstra and S. T. Erlewine, eds (3rd ed.), Milwaukee, Wisconsin: Backbeat Books,
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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 "
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from the late 1960s, followed by Korg drum machines in the 1970s. Kakehashi later left Ace Tone and founded
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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:
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also benefit from the electronic sound. During the 1970s and 1980s, Wendy Carlos composed the score for
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From the late 1920s, the increased practicality of electronic instruments influenced composers such as
720:
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9739:, Music in American Life, foreword by Robert Moog., Urbana and Chicago: University of Illinois Press,
9199:
7601:
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4818:" umbrella which was also a music scene in the early 1990s in the United Kingdom. According to a 1997
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2015:, the first programmable synthesizer. Prominent composers such as Vladimir Ussachevsky, Otto Luening,
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14233:
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12735:
12116:
11846:
10947:. Signale aus Köln. Beiträge zur Musik der Zeit (in German). Vol. 22. Vienna: Verlag Der Apfel.
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10633:
The Csound Book: Perspectives in Software Synthesis, Sound Design, Signal Processing, and Programming
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Analog Synthesizers: Understanding, Performing, Buying: From the Legacy of Moog to Software Synthesis
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4790:/EDM sound that has been incorporated into the U.S. pop music and the rise of large-scale commercial
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Musys system, developed by Peter Grogono (software), David Cockerell (hardware and interfacing), and
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2297:(1961)—which he created using the RCA synthesizer at the Columbia-Princeton Electronic Music Center.
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who, after having developed the earliest known electronic tape music in 1944, became more famous for
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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
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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
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4335:
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1232:
826:
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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
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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
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at Donaueschingen in 1954, using eight loudspeakers, three years after his alleged collaboration.
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onwards, electronic music—in particular synthetic timbre—has impersonated alien worlds in film" (
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3550:
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2523:
2443:
1978:
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127:
11538:, translated from the Italian with an introduction by Barclay Brown, New York: Pendragon Press,
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6143:, was developed. It seems to be a multi-timbral keyboard instrument based on electrically blown
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1939:
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12143:
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10251:
10049:
10015:
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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
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2507:, Christchurch declicked and restored this recording in 2016 and the results may be heard on
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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,
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497:) in its creation. It includes both music made using electronic and electromechanical means (
243:
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9409:, translated by Dr. Th. Baker and originally published in 1911 by G. Schirmer. Reprinted in
8507:
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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
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3404:(1972), which featured Moog synthesizer renditions of contemporary pop and rock songs, and
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Israeli composer Josef Tal at the Electronic Music Studio in Jerusalem (c. 1965) with
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The characteristic lo-fi sound of chip music was initially the result of early computer's
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10372:, Knorretje, een Nederlandse Wiki over muziek, geluid, soft- en hardware., archived from
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Best Classical Performance – Instrumental Soloist or Soloists (With or Without Orchestra)
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2043:, a 1959 series of electronic compositions that stood out for its immersion and seamless
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technology was also a major development in this early era. In 1956, Stockhausen composed
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1231:(who became its first director), the studio was soon joined by Karlheinz Stockhausen and
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11422:"Digital Arts and New Media Grad Students Collaborate Musically across Three Time Zones"
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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" (
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in the electronic performing arts, located in Amsterdam, Netherlands. It was founded by
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The intense activity occurring at CPEMC and elsewhere inspired the establishment of the
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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
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In 1944, before the use of magnetic tape for compositional purposes, Egyptian composer
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Bogdanov, Vladimir (2001), Chris Woodstra; Stephen Thomas Erlewine; John Bush (eds.),
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Mattis, Olivia (2001), "Mathews, Max V(ernon)", in Stanley Sadie; John Tyrell (eds.),
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1982:, which was played over four hundred loudspeakers at the Philips Pavilion of the 1958
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used the theremin to abandon fixed tonation entirely, while Russian composers such as
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synthesizer, which many composers used to produce notable electronic works—including
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in 1961, would be cited as a strong influence by a number of musicians, ranging from
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performances, natural sounds are modified in real-time using electronic effects and
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Synth-pop was taken up across the world, with international hits for acts including
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computer system, featuring then revolutionary real-time digital signal processing.
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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:
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worked briefly in Schaeffer's studio in 1952, and afterward for many years at the
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Ambrosia: About a Culture—An Investigation of Electronica Music and Party Culture
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6879:"First recording of computer-generated music – created by Alan Turing – restored"
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achieved a long-lasting success with his 1978 electronic rock musical version of
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electronic effects. It featured layering techniques and incorporated elements of
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1965:
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at the Museum of Modern Art in New York. After some hesitation, we agreed. . . .
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Bodily Expression in Electronic Music: Perspectives on Reclaiming Performativity
11030:
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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"
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The first wave of indie electronic artists began in the 1990s with acts such as
2001:
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10150:(Revised and expanded ed.), Oxford and New York: Oxford University Press,
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2016:
1987:
1949:. An important technological development of that year was the invention of the
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took place, and Japanese electronic musical instruments began to influence the
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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.
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4402:) and resulted from a collaboration between leading manufacturers, initially
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3412:(1974). The mid-1970s saw the rise of electronic art music musicians such as
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3245:
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culture. Dub music was pioneered by studio engineers, such as Sylvan Morris,
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1969:
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Karlheinz Stockhausen in the Electronic Music Studio of WDR, Cologne, in 1991
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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
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10683:
Magic Music from the Telharmonium: The Story of the First Music Synthesizer
10620:
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Electronic rock was also produced by several Japanese musicians, including
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was built in 1935. however, after World War II, Japanese composers such as
1597:
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1181:
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686:
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584:
526:
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7431:
7133:. Encyclopedia of keyboard instruments (2nd ed.). Routledge. p.
3860:
1237:
Elektronische Klangerzeugung: Elektronische Musik und Synthetische Sprache
1153:
14181:
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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
7305:
6994:
6907:"Restoring the first recording of computer music – Sound and vision blog"
6012:«АНС», шумофон и терменвокс: как зарождалась советская электронная музыка
5211:
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4841:
4833:
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4771:
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4659:
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in 1981. Then, in August 1983, the MIDI Specification 1.0 was finalized.
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4300:
4284:
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1958:
1922:
1823:
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1353:
1345:
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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:
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337:
266:
147:
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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.
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13985:
13950:
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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:
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13791:
13680:
13635:
13619:
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13491:
13481:
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12528:
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12392:
12310:
12305:
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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:
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4865:
4825:
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1991:
1918:
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732:
616:
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367:
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307:
297:
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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:
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13323:
13192:
13173:
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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:
18:Electronic classical music
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
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:. Translated by
9923:
9910:
9871:
9850:
9831:
9812:
9811:
9809:
9790:
9779:
9749:
9729:
9720:
9709:
9674:
9662:
9649:
9648:
9646:
9640:
9628:
9627:
9625:
9619:
9607:
9583:
9553:
9538:
9520:
9492:
9477:
9444:
9426:
9401:
9370:
9352:
9336:(1/2): 145–151,
9317:
9316:
9314:
9305:, archived from
9291:
9276:
9275:
9273:
9264:, archived from
9250:
9235:
9232:The Varese Album
9231:
9223:
9212:
9211:
9209:
9194:
9169:
9168:
9166:
9164:
9149:
9143:
9137:
9131:
9125:
9119:
9113:
9107:
9101:
9095:
9089:
9083:
9077:
9071:
9070:
9068:
9066:
9052:
9039:
9038:
9036:
9034:
9019:
9010:
9009:
8997:
8987:
8978:
8977:
8964:Cengage Learning
8962:(4th ed.).
8955:
8949:
8948:, 11 August 2011
8937:
8931:
8922:
8916:
8899:
8893:
8892:
8874:
8865:
8859:
8858:
8847:
8841:
8840:
8829:
8823:
8817:
8811:
8805:
8799:
8798:
8796:
8794:
8779:
8773:
8762:
8756:
8750:
8744:
8738:
8729:
8723:
8717:
8709:
8703:
8697:
8691:
8671:
8665:
8664:
8658:
8656:
8650:
8644:. Archived from
8635:
8626:
8620:
8619:
8608:
8602:
8596:
8590:
8584:
8578:
8572:
8566:
8560:
8554:
8548:
8539:
8533:
8527:
8517:
8511:
8501:
8495:
8488:
8482:
8476:
8470:
8469:
8467:
8454:Leonardo On-Line
8445:
8439:
8437:
8435:
8433:
8424:. Archived from
8415:
8409:
8408:
8390:
8384:
8383:
8382:
8380:
8359:
8353:
8347:
8341:
8335:
8326:
8325:
8323:
8321:
8300:
8294:
8293:
8291:
8289:
8275:
8269:
8268:
8267:on 24 July 2011.
8263:. Archived from
8250:
8244:
8243:
8241:
8239:
8224:
8218:
8211:
8205:
8200:
8191:
8190:
8173:
8167:
8166:
8164:
8162:
8147:
8141:
8135:
8129:
8128:
8126:
8124:
8113:
8107:
8106:
8104:
8102:
8087:
8081:
8080:
8078:
8076:
8058:
8052:
8051:
8033:
8027:
8016:
8007:
7998:
7989:
7976:
7970:
7969:
7967:
7965:
7942:
7936:
7935:
7908:
7902:
7896:
7887:
7884:Unterberger 2002
7881:
7875:
7869:
7863:
7862:
7860:
7858:
7842:
7836:
7835:
7833:
7831:
7808:
7802:
7801:
7799:
7797:
7770:
7764:
7763:
7757:
7755:
7739:
7733:
7732:
7726:
7724:
7708:
7702:
7701:
7699:
7697:
7690:Shindig Magazine
7681:
7675:
7674:
7672:
7670:
7650:
7644:
7643:
7641:
7639:
7624:
7618:
7617:
7615:
7613:
7597:
7591:
7585:
7579:
7578:
7576:
7574:
7560:
7554:
7542:
7536:
7523:
7517:
7504:
7495:
7482:
7473:
7472:
7450:
7441:
7429:
7423:
7422:
7420:
7418:
7401:
7395:
7382:
7369:
7358:
7352:
7339:
7333:
7332:
7331:
7327:
7316:
7310:
7309:
7302:
7296:
7295:
7293:
7291:
7282:. Archived from
7268:
7259:
7258:
7251:
7242:
7229:
7223:
7222:
7221:
7219:
7201:
7186:
7176:
7165:
7151:
7126:
7120:
7106:
7085:
7079:
7078:
7063:
7057:
7056:
7054:
7052:
7047:on 21 April 2021
7030:
7024:
7023:
7005:
6999:
6982:
6976:
6965:
6959:
6956:Stockhausen 1971
6953:
6947:
6941:
6935:
6929:
6923:
6922:
6920:
6918:
6903:
6897:
6896:
6894:
6892:
6875:
6869:
6868:
6856:
6850:
6849:
6847:
6817:
6811:
6810:
6808:
6806:
6791:
6785:
6784:
6782:
6780:
6771:. Archived from
6761:
6755:
6754:
6743:
6737:
6731:
6725:
6719:
6713:
6707:
6701:
6696:Audium Archives
6692:
6686:
6669:
6663:
6657:
6651:
6645:
6636:
6632:Pauline Oliveros
6628:
6622:
6621:
6619:
6617:
6603:
6597:
6591:
6585:
6579:
6573:
6567:
6561:
6555:
6549:
6548:
6546:
6538:
6532:
6531:
6529:
6521:
6515:
6504:
6498:
6497:
6490:
6484:
6478:
6472:
6466:
6460:
6454:
6448:
6442:
6436:
6430:
6424:
6418:
6412:
6406:
6400:
6394:
6388:
6382:
6376:
6370:
6364:
6358:
6352:
6346:
6340:
6334:
6325:
6319:
6310:
6304:
6298:
6292:
6283:
6277:
6271:
6265:
6256:
6250:
6244:
6238:
6232:
6226:
6217:
6213:
6192:
6190:
6188:
6183:on 12 March 2012
6126:
6117:
6112:
6103:
6097:
6091:
6085:
6079:
6059:
6053:
6047:
6034:
6028:
6022:
6009:
5994:
5983:
5977:
5971:
5965:
5959:
5942:
5936:
5925:
5910:
5904:
5898:
5892:
5886:
5880:
5874:
5868:
5855:
5849:
5846:Stockhausen 1978
5843:
5837:
5830:
5824:
5818:
5812:
5806:
5800:
5794:
5788:
5782:
5776:
5770:
5761:
5755:
5749:
5743:
5737:
5731:
5725:
5718:
5712:
5705:
5699:
5693:
5687:
5681:
5675:
5669:
5660:
5654:
5648:
5639:
5633:
5627:
5621:
5612:
5606:
5600:
5594:
5588:
5582:
5581:
5561:
5555:
5549:
5543:
5537:
5531:
5525:
5519:
5513:
5507:
5501:
5495:
5489:
5483:
5477:
5471:
5465:
5459:
5453:
5447:
5446:
5431:
5425:
5419:
5408:
5402:
5396:
5390:
5384:
5377:
5371:
5365:
5359:
5353:
5347:
5341:
5335:
5329:
5321:
5315:
5309:
5303:
5302:
5272:
5266:
5265:
5263:
5261:
5247:
5241:
5230:
5224:
5208:
5202:
5191:
5185:
5184:
5177:
5171:
5170:
5166:978-0-84002976-8
5157:Cengage Learning
5155:(4th ed.).
5148:
5074:
5069:
5068:
5067:
4971:Weekend Festival
4888:independent rock
4876:Indie electronic
4721:compatibles and
4678:Video game music
4648:Afrika Bambaataa
4608:electronic drums
4581:Music sequencers
4540:
4533:
4529:
4526:
4520:
4517:reliably sourced
4497:
4496:
4489:
4297:electronic drums
4269:sound recordings
4247:Sampling (music)
4213:phase distortion
4174:of 57 kHz.
3969:Larry Beauregard
3896:Louis Andriessen
3892:Misha Mengelberg
3769:Men Without Hats
3694:The Human League
3577:Chariots of Fire
3551:Midnight Express
3536:Steven Spielberg
3258:progressive rock
3254:Moog synthesizer
3204:Switched-On Bach
3192:Music To Moog By
3129:Moog synthesizer
3095:Progressive rock
3024:musique concrète
2917:
2860:
2759:electronic organ
2731:Switched-On Bach
2650:Live electronics
2646:(1978) with it.
2628:Morsima-Amorsima
2615:stochastic music
2597:
2590:
2586:
2583:
2577:
2558:
2557:
2550:
2546:Stochastic music
2401:Switched-On Bach
2392:Gershon Kingsley
2350:Pauline Oliveros
2331:Pauline Oliveros
2327:Morton Subotnick
2312:Mario Davidovsky
2202:Delia Derbyshire
2179:Bernard Herrmann
2129:Expansion: 1960s
2099:Beatriz Ferreyra
2029:Mario Davidovsky
2021:Charles Wuorinen
1905:Leonard Isaacson
1889:Toshi Ichiyanagi
1831:Toshiro Mayuzumi
1793:musique concrète
1752:
1743:
1728:
1721:
1717:
1714:
1708:
1684:
1683:
1676:
1630:Melbourne Museum
1579:Alfred Schnittke
1568:
1560:Alexander Nemtin
1538:
1516:
1506:and A. 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:
11835:
11831:
11828:
11825:
11823:
11820:
11818:
11814:
11811:
11808:
11805:
11800:
11796:
11795:
11789:
11786:
11784:
11781:
11780:
11775:
11770:
11756:
11754:0-306-80974-5
11750:
11746:
11745:
11739:
11736:
11730:
11726:
11722:
11721:Wells, Thomas
11718:
11714:
11710:
11706:
11701:
11691:
11687:
11683:
11678:
11667:
11666:
11660:
11657:
11653:
11649:
11645:
11642:
11638:
11637:
11631:
11628:
11626:0-8230-8428-0
11622:
11618:
11617:
11611:
11608:
11606:1-891024-06-X
11602:
11598:
11597:
11591:
11588:
11582:
11578:
11574:
11570:
11567:
11565:0-06-097081-2
11561:
11557:
11556:
11550:
11547:
11545:0-918728-57-6
11541:
11537:
11529:
11521:
11517:
11513:
11510:
11506:
11501:
11498:
11497:0-415-92373-5
11494:
11489:
11487:0-316-74111-6
11483:
11479:
11478:
11471:
11469:0-330-35056-0
11465:
11461:
11457:
11453:
11442:
11441:
11436:
11431:
11427:
11423:
11418:
11414:
11408:
11404:
11403:
11398:
11393:
11390:
11384:
11380:
11376:
11372:
11358:
11357:
11352:
11348:
11343:
11340:
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:
9792:
9788:
9787:
9781:
9778:
9774:
9770:
9766:
9762:
9758:
9757:
9751:
9748:
9746:0-252-02582-2
9742:
9738:
9737:
9731:
9727:
9722:
9718:
9717:
9711:
9708:
9704:
9700:
9696:
9692:
9688:
9687:
9681:
9678:
9672:
9668:
9664:
9660:
9656:
9651:
9637:
9636:
9630:
9616:
9615:
9609:
9605:
9599:
9595:
9590:
9587:
9582:
9578:
9574:
9570:
9566:
9562:
9561:
9555:
9551:
9547:
9546:
9540:
9537:
9535:1-86335-569-3
9531:
9527:
9522:
9519:
9515:
9511:
9507:
9503:
9499:
9494:
9490:
9486:
9485:
9479:
9476:
9472:
9468:
9464:
9460:
9456:
9455:
9450:
9449:Chadabe, Joel
9446:
9443:
9441:0-946719-70-5
9437:
9433:
9428:
9424:
9420:
9416:
9412:
9408:
9403:
9399:
9398:
9393:
9388:
9385:
9381:
9377:
9374:
9369:
9363:
9359:
9354:
9351:
9347:
9343:
9339:
9335:
9331:
9330:
9324:
9321:
9309:on 4 May 2012
9308:
9304:
9303:
9298:
9293:
9289:
9285:
9284:
9278:
9267:
9263:
9262:
9257:
9252:
9248:
9247:
9242:
9237:
9233:
9225:
9221:
9220:
9214:
9203:
9202:
9196:
9192:
9191:
9186:
9181:
9180:
9159:
9155:
9148:
9141:
9136:
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:. Early
2914:Technics
2838:fill-ins
2783:Ace Tone
2763:Electone
2495:", and "
2175:theremin
2168:Kontakte
2163:Kontakte
1951:Clavivox
1855:'s 1951
1524:In 1956
1508:emiriton
1493:theremin
1441:virtuoso
1253:Studie I
1083:movement
774:theremin
745:(1913).
719:such as
715:(1907).
696:through
613:new wave
507:theremin
409:Sampling
333:Hardcore
288:Chiptune
158:neo soul
143:new wave
79:Futurism
14177:Sampler
13907:Culture
13797:Seapunk
13780:Brostep
13588:UK bass
13551:Sambass
13524:Rabòday
13443:Grindie
13394:Dubstep
13181:Nu jazz
12891:Hardbag
12659:Chicago
12649:Ambient
12563:Electro
12413:Hip hop
12286:Ambient
11968:Germany
11447:19 June
10653:30 June
10631:(ed.),
10510:(ed.).
10487:(ed.).
10420:30 June
10269:3680939
10196:28 June
10116:3392376
10081:3 March
10071:3679656
10037:3681132
9880:(pbk);
9808:3 March
9645:18 June
9624:18 June
9320:archive
9313:7 March
9176:Sources
9163:11 July
8793:21 June
8771:Discogs
8379:24 June
8288:12 June
8025:Discogs
7964:1 April
7218:19 June
7183:, p. 84
6616:10 June
6157:Everett
6149:pickups
5646:scu.edu
5444:306–307
5285:: 3–6.
5013:Live PA
4979:Estonia
4952:Sub Pop
4893:laptops
4780:electro
4750:Erasure
4701:of the
4588:-based
4573:Phuture
4459:(after
4455:called
4329:digital
4279:from a
4273:samples
4261:sampler
3773:Trans-X
3679:Talking
3586:Suicide
3546:R&B
3484:vocoder
3450:Oxygène
3434:hi-tech
3383:hip hop
3352:The Orb
3338:, deep
3328:ambient
3286:Cluster
3274:Genesis
3188:Popcorn
3046:music,
3033:deejays
2956:SL-1200
2916:SL-1200
2875:cowbell
2853:Seeburg
2672:tam-tam
2516:MUSIC V
2440:Music-N
2308:Déserts
1935:Vocoder
1931:MUSIC I
1691:may be
1282:as the
1213:Déserts
1201:Déserts
1178:Déserts
1128:Orpheus
1104:Déserts
1063:shellac
621:hip hop
424:Hip hop
318:Electro
313:Dubstep
138:new-age
133:hip hop
108:Ambient
14107:Reggae
14048:Genres
14020:Riddim
13946:Mashup
13929:DJ mix
13651:Azonto
13583:Trival
13561:Skweee
13502:Nortec
13465:Glo-fi
13357:Budots
13302:2-step
13235:Trance
13228:Dembow
13218:Psydub
13105:Mákina
13100:J-core
13083:Gabber
13048:Glitch
13021:Funkot
12961:Light
12950:Jungle
12924:Heavy
12824:Bitpop
12756:Techno
12704:Tribal
12669:Garage
12607:Kwaito
12602:Kuduro
12408:Hi-NRG
12383:Boogie
12159:Genres
12044:studio
12038:Studio
12026:SEAMUS
11977:Active
11963:France
11771:about
11751:
11731:
11654:
11623:
11603:
11583:
11562:
11542:
11495:
11484:
11466:
11409:
11385:
11335:
11317:842974
11315:
11288:
11270:
11251:
11230:
11184:
11159:
11134:
11108:
11092:5 June
11021:5 June
10994:
10972:
10951:
10909:5 June
10884:20 May
10802:This "
10733:5 June
10713:
10689:
10639:
10610:
10592:
10574:
10553:
10537:
10518:
10495:
10347:
10329:
10307:
10288:5 June
10267:
10221:
10154:
10122:
10114:
10069:
10035:
10003:
9969:
9943:
9904:
9884:
9876:
9864:
9843:
9824:
9775:
9743:
9705:
9600:
9581:954658
9579:
9532:
9516:
9473:
9438:
9364:
9350:832872
9348:
9272:5 June
9208:5 June
9002:
8970:
8662:1980s.
8401:
8260:Sounds
8184:
8123:29 May
8044:
8005:133–34
7955:
7928:
7821:
7787:
7465:
7417:5 June
7351:, 2003
7330:
7322:,
7158:Yamaha
7141:
7096:
7016:
6207:Yamaha
5860:Hymnen
5574:
5297:
5163:
5020:Reason
4995:laptop
4954:, and
4938:, and
4895:using
4784:trance
4782:, and
4776:techno
4763:Mixmag
4646:" and
4632:TR-808
4469:Opcode
4422:, and
4416:Yamaha
4412:Roland
4366:Yamaha
4360:using
4309:chords
4305:scales
4253:, and
4231:Roland
4141:Yamaha
4133:, and
4082:Sirius
4048:, the
4038:, and
4032:Buchla
3986:Boulez
3982:Handel
3943:Répons
3914:, and
3855:Europe
3789:Sandra
3760:, and
3432:. The
3422:Tomita
3296:, and
3272:, and
3223:, and
3178:, and
3105:, and
3087:, and
3011:reggae
3005:, and
2871:claves
2867:cymbal
2834:breaks
2796:Early
2757:Early
2676:Mixtur
2636:Atrées
2634:, and
2538:, and
2474:CSIRAC
2462:CSIRAC
2450:CSIRAC
2382:Audium
2370:Audium
2260:UNESCO
2149:, and
2147:Buchla
2113:, and
2053:serial
2045:fusion
1968:) and
1885:mixers
1649:CSIRAC
1637:CSIRAC
1614:Zodiac
1581:, and
1487:" (la
1411:, and
1356:, and
1296:Mixtur
1070:) and
737:timbre
623:, and
358:Trance
353:Techno
257:Glitch
96:Europe
14133:Tools
14077:Disco
14000:Remix
13860:2020s
13770:Plugg
13629:2010s
13615:Wonky
13507:Phonk
13438:Grime
13377:Crunk
13340:2000s
13290:Vocal
13250:Dream
12787:1990s
12741:Ragga
12694:Latin
12679:Italo
12674:Funky
12639:House
12634:Grebo
12517:Baggy
12500:1980s
12364:1970s
12291:Drone
12279:1960s
12260:Noise
12172:Early
12031:STEIM
12016:IRCAM
11958:Chile
11313:JSTOR
10627:, in
10414:(PDF)
10407:(PDF)
10265:JSTOR
10190:(PDF)
10179:(PDF)
10120:S2CID
10112:JSTOR
10067:JSTOR
10033:JSTOR
9773:S2CID
9703:S2CID
9639:(PDF)
9618:(PDF)
9586:Melos
9577:JSTOR
9514:S2CID
9471:S2CID
9397:Wired
9346:JSTOR
8873:(PDF)
8649:(PDF)
8634:(PDF)
7437:Wired
7290:2 May
7162:"D-1"
6834:(2).
6545:(PDF)
6528:(PDF)
6201:[
6147:with
5698:, 14.
5295:S2CID
4975:Pärnu
4850:Fluke
4792:raves
4772:house
4424:Kawai
4271:(or "
4217:Casio
3930:IRCAM
3884:STEIM
3805:Yello
3781:Telex
3758:Japan
3738:Yazoo
3686:with
3538:film
3534:from
3439:Space
3298:Faust
2948:SP-10
2944:Osaka
2938:(now
2632:ST/10
2624:ST/48
2612:, or
2540:Atari
2536:Amiga
2209:theme
1990:, an
1672:Japan
1604:, in
1567:]
1537:]
1515:]
1504:]
1456:, by
1401:Ampex
1085:" of
960:Cairo
605:disco
509:, or
384:Disco
338:House
328:Grime
153:phonk
148:noise
113:drone
14194:MIDI
14160:List
14140:Bass
13976:Doof
13961:Rave
13887:Rage
13839:Wave
13718:Gqom
13280:Tech
13265:Hard
13240:Acid
12699:Tech
12664:Deep
12644:Acid
12199:Rock
12194:Jùjú
12042:WORM
12021:NIME
12011:ICMA
12006:ICEM
11908:Loop
11872:and
11749:ISBN
11729:ISBN
11697:2016
11674:2010
11652:ISBN
11621:ISBN
11601:ISBN
11581:ISBN
11560:ISBN
11540:ISBN
11493:ISBN
11482:ISBN
11464:ISBN
11449:2011
11407:ISBN
11383:ISBN
11365:2011
11333:ISBN
11286:ISBN
11268:ISBN
11249:ISBN
11228:ISBN
11214:2010
11182:ISBN
11157:ISBN
11132:ISBN
11106:ISBN
11094:2011
11023:2011
10992:ISBN
10970:ISBN
10949:ISBN
10934:2011
10911:2011
10886:2008
10877:h2g2
10875:BBC
10761:2011
10735:2011
10711:ISBN
10687:ISBN
10675:2011
10655:2008
10637:ISBN
10608:ISBN
10590:ISBN
10572:ISBN
10551:ISBN
10535:ISBN
10516:ISBN
10493:ISBN
10444:2010
10422:2016
10382:2010
10345:ISBN
10327:ISBN
10305:ISBN
10290:2011
10243:2010
10219:ISBN
10198:2008
10152:ISBN
10083:2011
10001:ISBN
9967:ISBN
9941:ISBN
9902:ISBN
9882:ISBN
9874:ISBN
9862:ISBN
9841:ISBN
9822:ISBN
9810:2011
9741:ISBN
9647:2010
9626:2010
9598:ISBN
9530:ISBN
9436:ISBN
9362:ISBN
9315:2021
9274:2011
9210:2011
9165:2020
9067:2023
9035:2023
9000:ISBN
8968:ISBN
8795:2011
8657:2017
8508:1, 5
8434:2010
8399:ISBN
8381:2019
8322:2020
8290:2018
8240:2011
8182:ISBN
8163:2022
8125:2019
8103:2022
8077:2009
8042:ISBN
7966:2013
7953:ISBN
7926:ISBN
7859:2023
7832:2022
7819:ISBN
7798:2022
7785:ISBN
7756:2023
7725:2023
7717:KQED
7698:2023
7671:2020
7640:2020
7614:2020
7575:2023
7550:Fact
7463:ISBN
7419:2016
7292:2017
7280:Korg
7220:2011
7160:was
7154:Note
7139:ISBN
7109:Note
7094:ISBN
7053:2021
7014:ISBN
6919:2017
6893:2017
6807:2017
6781:2017
6618:2019
6189:2011
6159:and
6130:see
5572:ISBN
5262:2022
5161:ISBN
5022:and
5007:and
4944:Warp
4914:and
4862:Sims
4826:club
4802:and
4752:and
4705:and
4686:and
4658:and
4650:'s "
4642:'s "
4614:'s "
4575:'s "
4483:and
4420:Korg
4400:MIDI
4393:MIDI
4307:and
4281:funk
4277:riff
4225:The
4207:The
4194:Korg
4188:The
4040:Korg
3840:Jump
3820:Devo
3799:and
3777:Lime
3775:and
3721:MIDI
3705:Dare
3639:Cars
3574:for
3568:1981
3564:1979
3523:Tron
3520:and
3478:and
3424:and
3366:and
3364:Woob
3294:Neu!
3215:for
3180:Gong
3123:and
3115:and
2893:and
2877:and
2836:and
2810:Korg
2802:Korg
2670:for
2640:UPIC
2620:ST/4
2565:not
2442:and
2314:and
2239:and
2173:The
2081:and
2073:and
2027:and
1913:for
1903:and
1867:and
1847:and
1785:Sony
1658:Baby
1464:USSR
1389:and
1221:NWDR
1192:and
1184:and
1143:ORTF
969:zaar
936:and
901:and
860:and
817:and
791:and
780:and
723:and
637:MIDI
583:and
537:and
521:and
94:and
13275:Psy
13255:Goa
12296:Dub
12071:NHK
11402:sic
11069:",
10990:.,
10753:277
10257:doi
10104:doi
10059:doi
10025:doi
9765:doi
9695:doi
9569:doi
9565:113
9506:doi
9463:doi
9338:doi
8885:doi
8769:at
8023:at
7922:115
7135:406
7113:JVC
6995:CD1
6840:doi
6509:. '
5287:doi
5197:" (
5003:),
4928:Múm
4860:),
4852:),
4719:MSX
4699:SID
4457:Max
4349:by
4336:EMS
4165:DX7
4089:'s
4075:'s
4065:WDR
4007:MAX
3988:'s
3940:'s
3853:by
3843:by
3562:in
3465:or
3400:'s
3356:Ott
3290:Can
3266:Yes
3143:on
3135:on
2840:."
2714:sic
2707:'s
2489:BBC
2270:at
2187:).
2033:RCA
1925:at
1268:NHK
1166:WDR
1053:at
1041:GRM
625:EDM
343:IDM
323:EDM
308:Dub
128:IDM
123:EDM
118:dub
14230::
12161:by
12147:·
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