MUSIK ELEKTRONIK

Musik elektronik adalah musik yang menggunakan alat musik elektronik dan elektronik teknologi musik dalam produksinya. In general a distinction can be made between sound produced using electromechanical means and that produced using electronic technology. ^{[ 1 ]} Examples of electromechanical sound producing devices include the telharmonium , Hammond organ , and the electric guitar . Secara umum perbedaan dapat dibuat antara suara diproduksi menggunakan sarana elektromekanis dan diproduksi menggunakan teknologi elektronik. ^[1] Contoh suara memproduksi perangkat elektromekanis termasuk telharmonium , Hammond organ , dan gitar listrik . Purely electronic sound production can be achieved using devices such as the Theremin , sound synthesizer , and computer . ^{[ 2 ]} Produksi suara murni elektronik dapat dicapai dengan menggunakan perangkat seperti Theremin , synthesizer suara , dan komputer . ^[2]
Electronic music was once associated almost exclusively with Western art music but from the late 1960s on the availability of affordable music technology meant that music produced using electronic means became increasingly common in the popular domain. ^{[ 3 ]} Today electronic music includes many varieties and ranges from experimental art music to popular forms such as electronic dance music . Musik elektronik pernah berhubungan secara eksklusif dengan Western seni musik tapi dari akhir 1960-an pada ketersediaan teknologi musik terjangkau berarti bahwa musik yang dihasilkan dengan menggunakan sarana elektronik menjadi semakin umum dalam domain populer. ^[3] musik elektronik Hari ini mencakup banyak varietas dan berkisar dari seni eksperimental musik dengan bentuk-bentuk populer seperti musik dansa elektronik .

Isi 1 Origins: late 19th century to early 20th century 1 Asal Mula: abad ke-19 ke awal abad 20 1.1 Sketch of a New Esthetic of Music 1.1 Sketsa sebuah Estetika Baru Musik 1.2 Futurists 1,2 Futuris 1.3 The 1920s to 1930s 1.3 tahun 1920 ke 1930 2 Development: 1940s to 1950s 2 Pembangunan: 1940 untuk tahun 1950 2.1 Electroacoustic tape music 2,1 electroacoustic musik rekaman 2.2 Musique concrète 2,2 Musique beton 2.3 Elektronische Musik 2,3 Elektronische Musik 2.4 Japanese electronic music 2,4 musik elektronik Jepang 2.5 American electronic music 2,5 musik elektronik Amerika 2.6 Columbia-Princeton Center 2,6 Columbia-Princeton Pusat 2.7 Stochastic music 2,7 Stochastic musik 2.8 Mid-to-late 1950s 2,8 Mid-ke-akhir 1950-an 3 Expansion: 1960s 3 Ekspansi: 1960 3.1 Computer music 3.1 Komputer musik 3.2 Live electronics 3,2 Hidup elektronik 4 Popularization: 1970s to early 1980s 4 mempopulerkan: 1970 untuk awal 1980-an 4.1 Synthesizers 4,1 Synthesizer 4.2 IRCAM, STEIM, and Elektronmusikstudion 4,2 IRCAM, STEIM, dan Elektronmusikstudion 4.3 Rise of popular electronic music 4.3 Kebangkitan musik elektronik populer 4.4 Sequencers and drum machines 4,4 sequencer dan drum mesin 4.5 Birth of MIDI 4.5 Kelahiran MIDI 4.6 Digital synthesis 4.6 Digital sintesis 4.7 Chiptunes 4,7 chiptunes 5 Late 1980s to 1990s 5 Akhir 1980-an hingga 1990-an 5.1 Rise of dance music 5.1 Kebangkitan musik dansa 5.2 Advancements 5.2 Kemajuan 6 2000s 6 tahun 2000 6.1 Circuit bending 6,1 Circuit bending 7 See also 7 Lihat juga 8 Footnotes 8 Catatan kaki 9 References 9 Referensi 10 Further reading 10 Bacaan lebih lanjut 11 External links 11 Pranala luar

Asal: akhir abad 19 ke awal abad 20

Telharmonium , Thaddeus Cahill , 1897 Telharmonium , Thaddeus Cahill , 1897

The ability to record sounds is often connected to the production of electronic music, but not absolutely necessary for it. Kemampuan untuk merekam suara sering terhubung ke produksi musik elektronik, tetapi tidak mutlak diperlukan untuk itu. The earliest known sound recording device was the phonautograph , patented in 1857 by Édouard-Léon Scott de Martinville . Para awal dikenal alat perekam suara adalah phonautograph , dipatenkan pada tahun 1857 oleh Edouard-Léon Scott de Martinville . It could record sounds visually, but was not meant to play them back. ^{[ 4 ]} Itu bisa merekam suara visual, tetapi tidak dimaksudkan untuk memainkannya kembali. ^[4]
In 1878, Thomas A. Edison patented the phonograph, which used cylinders similar to Scott 's device. Pada tahun 1878, Thomas A. Edison mematenkan gramafon, yang digunakan silinder mirip dengan Scott perangkat. Although cylinders continued in use for some time, Emile Berliner developed the disc phonograph in 1887. ^{[ 5 ]} A significant invention, which was later to have a profound effect on electronic music, was Lee DeForest 's triode audion . Meskipun silinder terus digunakan untuk beberapa waktu, Emile Berliner mengembangkan fonograf disk pada tahun 1887. ^[5] Sebuah penemuan yang signifikan, yang kemudian memiliki efek mendalam pada musik elektronik, adalah Lee DeForest itu triode audion . This was the first thermionic valve, or vacuum tube , invented in 1906, which led to the generation and amplification of electrical signals, radio broadcasting, and electronic computation, amongst other things. Ini adalah katup termionik pertama, atau tabung vakum , ditemukan pada tahun 1906, yang menyebabkan generasi dan amplifikasi sinyal listrik, penyiaran radio, dan komputasi elektronik, antara lain.
Before electronic music, there was a growing desire for composers to use emerging technologies for musical purposes. Sebelum musik elektronik, ada keinginan yang berkembang untuk komposer untuk menggunakan teknologi muncul untuk tujuan musik. Several instruments were created that employed electromechanical designs and they paved the way for the later emergence of electronic instruments. Beberapa instrumen yang diciptakan bekerja elektromekanis desain dan mereka membuka jalan bagi munculnya kemudian instrumen elektronik. An electromechanical instrument called the Telharmonium (sometimes Teleharmonium or Dynamophone) was developed by Thaddeus Cahill in the years 1898–1912. Sebuah alat elektromekanik disebut Telharmonium (kadang-kadang Teleharmonium atau Dynamophone) dikembangkan oleh Thaddeus Cahill pada tahun-tahun 1898-1912. However, simple inconvenience hindered the adoption of the Telharmonium, due to its immense size. Namun, ketidaknyamanan sederhana menghambat adopsi Telharmonium, karena ukuran besar nya. One of the early electronic instrument often mentioned may be Theremin , invented by Professor Léon Theremin circa 1919–1920. ^{[ 6 ]} Other early electronic instruments include the Audion Piano invented in 1915 by Lee De Forest who was inventor of triode audion as mentioned above, ^{[ 7 ] [ 8 ]} the Croix Sonore , invented in 1926 by Nikolai Obukhov , and the Ondes Martenot , which was most famously used in the Turangalîla-Symphonie by Olivier Messiaen as well as other works by him. Salah satu alat elektronik awal sering disebut-sebut mungkin Theremin , ditemukan oleh Profesor Léon Theremin sekitar tahun 1919-1920. ^[6] Lain instrumen elektronik awal termasuk Piano Audion diciptakan pada 1915 oleh Lee De Forest yang penemu triode audion tersebut di atas, ^{[7] [8]} yang Sonore Croix , diciptakan pada tahun 1926 oleh Nikolai Obukhov , dan Martenot Ondes , yang paling terkenal digunakan dalam Turangalîla-Symphonie oleh Olivier Messiaen serta karya lain olehnya. The Ondes Martenot was also used by other, primarily French, composers such as Andre Jolivet . ^{[ 9 ]} Para Martenot Ondes juga digunakan oleh komposer lain, terutama Perancis, seperti Andre Jolivet . ^[9]

Sketsa dari Estetika Baru Musik

Main article: Ferruccio Busoni Artikel utama: Ferruccio Busoni

In 1907, just a year after the invention of the triode audion, Ferruccio Busoni published Sketch of a New Esthetic of Music , which discussed the use of electrical and other new sound sources in future music. Pada tahun 1907, hanya setahun setelah penemuan audion triode, Ferruccio Busoni diterbitkan Sketsa dari Estetika Baru of Music, yang membahas penggunaan listrik dan sumber suara baru dalam musik masa depan. He wrote of the future of microtonal scales in music, made possible by Cahill's Dynamophone: "Only a long and careful series of experiments, and a continued training of the ear, can render this unfamiliar material approachable and plastic for the coming generation, and for Art." ^{[ 10 ]} Dia menulis tentang masa depan skala microtonal dalam musik, yang dimungkinkan oleh Dynamophone Cahill: "Hanya rangkaian panjang dan hati-hati percobaan, dan pelatihan lanjutan dari telinga, dapat membuat ini didekati bahan asing dan plastik untuk generasi mendatang, dan untuk Seni ". ^[10]
Also in the Sketch of a New Esthetic of Music , Busoni states: Juga di Sketsa sebuah Estetika Baru Musik, Busoni menyatakan:

Music as an art, our so-called occidental music, is hardly four hundred years old; its state is one of development, perhaps the very first stage of a development beyond present conception, and we—we talk of "classics" and "hallowed traditions"! Musik sebagai seni, yang disebut kami barat musik, hampir empat ratus tahun; negaranya adalah salah satu pengembangan, mungkin tahap pertama dari perkembangan yang luar konsepsi ini, dan kita-kita berbicara tentang "klasik" dan "suci tradisi "! And we have talked of them for a long time! Dan kami telah berbicara dari mereka untuk waktu yang lama! We have formulated rules, stated principles, laid down laws;—we apply laws made for maturity to a child that knows nothing of responsibility! Kami telah merumuskan aturan, prinsip menyatakan, hukum yang ditetapkan;-kita menerapkan hukum dibuat untuk kedewasaan untuk anak yang tahu apa-apa tanggung jawab!
Young as it is, this child, we already recognize that it possesses one radiant attribute which signalizes it beyond all its elder sisters. Muda seperti itu, anak ini, kita sudah menyadari bahwa ia memiliki satu atribut bercahaya yang signalizes itu melebihi semua saudara tua nya. And the lawgivers will not see this marvelous attribute, lest their laws should be thrown to the winds. Dan pembuat hukum tidak akan melihat ini atribut yang luar biasa, jangan sampai undang-undang mereka harus dibuang ke angin. This child—it floats on air ! Anak-it ini mengapung di udara! It touches not the earth with its feet. Hal ini menyentuh tidak bumi dengan kakinya. It knows no law of gravitation. Ia tahu ada hukum gravitasi. It is well nigh incorporeal. Hal ini juga dekat inkorporeal. Its material is transparent. Material transparan. It is sonorous air. Ini adalah udara nyaring. It is almost Nature herself. Hal ini hampir Alam dirinya sendiri. It is—free! Hal ini bebas!
But freedom is something that mankind have never wholly comprehended, never realized to the full. Tetapi kebebasan adalah sesuatu yang manusia tidak pernah sepenuhnya dipahami, tidak pernah menyadari dengan penuh. They can neither recognize or acknowledge it. Mereka tidak dapat mengenali atau mengakuinya.
They disavow the mission of this child; they hang weights upon it. Mereka mengingkari misi anak ini, mereka menggantung berat di atasnya. This buoyant creature must walk decently, like anybody else. Makhluk apung harus berjalan sopan, seperti orang lain. It may scarcely be allowed to leap—when it were its joy to follow the line of the rainbow, and to break sunbeams with the clouds. ^{[ 11 ]} Ini hampir tidak mungkin diizinkan untuk melompat-ketika itu adalah sukacita untuk mengikuti garis pelangi, dan untuk memecahkan sunbeams dengan awan. ^[11]

Through this writing, as well as personal contact, Busoni had a profound effect on many musicians and composers, perhaps most notably on his pupil, Edgard Varèse , who said: Melalui tulisan ini, serta kontak pribadi, Busoni memiliki efek mendalam pada banyak musisi dan komposer, mungkin terutama pada muridnya, Edgard Varese , yang mengatakan:

Together we used to discuss what direction the music of the future would, or rather, should take and could not take as long as the straitjacket of the tempered system. Bersama-sama kita gunakan untuk mendiskusikan apa arah musik masa depan akan, atau lebih tepatnya, harus dan tidak bisa mengambil selama kungkungan sistem marah. He deplored that his own keyboard instrument had conditioned our ears to accept only an infinitesimal part of the infinite gradations of sounds in nature. Dia menyesalkan bahwa instrumen keyboard sendiri telah dikondisikan telinga kita untuk hanya menerima bagian yang sangat kecil dari gradasi yang tak terbatas suara di alam. He was very much interested in the electrical instruments we began to hear about, and I remember particularly one he had read of called the Dynamophone. Dia sangat tertarik dalam instrumen listrik kami mulai mendengar tentang, dan saya ingat terutama yang dia baca dari disebut Dynamophone tersebut. All through his writings one finds over and over again predictions about the music of the future which have since come true. Semua melalui tulisan-tulisannya kita menemukan lagi dan lagi prediksi tentang masa depan musik yang sejak menjadi kenyataan. In fact, there is hardly a development that he did not foresee, as for instance in this extraordinary prophecy: 'I almost think that in the new great music, machines will also be necessary and will be assigned a share in it. Bahkan, hampir tak ada pembangunan yang ia tidak meramalkan, seperti misalnya dalam nubuat yang luar biasa: "Saya hampir berpikir bahwa dalam musik besar baru, mesin juga akan diperlukan dan akan diberikan bagian di dalamnya. Perhaps industry, too, will bring forth her share in the artistic ascent.' ^{[ 12 ]} Mungkin industri juga akan mendatangkan bagiannya dalam pendakian artistik '. ^[12]

Futuris

Main article: Futurism (music) Artikel utama: Futurisme (musik)

In Italy , the Futurists approached the changing musical aesthetic from a different angle. Di Italia , para Futuris mendekati estetika musik berubah dari sudut yang berbeda. A major thrust of the Futurist philosophy was to value "noise," and to place artistic and expressive value on sounds that had previously not been considered even remotely musical. Sebuah dorongan utama dari filosofi Futuris adalah nilai "noise," dan menempatkan nilai seni dan ekspresif pada bunyi yang sebelumnya tidak dianggap bahkan jauh musik. Balilla Pratella's "Technical Manifesto of Futurist Music" (1911) states that their credo is: "To present the musical soul of the masses, of the great factories, of the railways, of the transatlantic liners, of the battleships, of the automobiles and airplanes. To add to the great central themes of the musical poem the domain of the machine and the victorious kingdom of Electricity." ^{[ 13 ]} "Manifesto Teknis Musik Futurist" Balilla Pratella itu (1911) menyatakan bahwa kredo mereka adalah: "Untuk memberikan jiwa musik dari massa, dari pabrik-pabrik besar, dari kereta api, dari liners transatlantik, dari kapal perang, dari mobil dan pesawat Untuk menambah tema sentral besar dari puisi musik domain mesin dan kerajaan menang Listrik.. " ^[13]
On 11 March 1913, futurist Luigi Russolo published his manifesto " The Art of Noises ". Pada tanggal 11 Maret 1913, futuris Luigi Russolo mengumumkan pernyataan nya " The Art of Suara ". In 1914, he held the first "art-of-noises" concert in Milan on April 21. Pada tahun 1914, ia memegang pertama "seni-of-suara" konser di Milan pada 21 April. This used his Intonarumori, described by Russolo as "acoustical noise-instruments, whose sounds (howls, roars, shuffles, gurgles, etc.) were hand-activated and projected by horns and megaphones." ^{[ 14 ]} In June, similar concerts were held in Paris. Ini menggunakan Intonarumori nya, dijelaskan oleh Russolo sebagai "kebisingan akustik-instrumen, yang suara (lolongan, mengaum, mengocok, menggelegak, dll) adalah tangan diaktifkan dan diproyeksikan oleh tanduk dan megafon." ^[14] Pada bulan Juni, konser serupa adalah diadakan di Paris.

1920 ke 1930

Further information: Electronic musical instrument and Léon Theremin Informasi lebih lanjut: alat musik elektronik dan Léon Theremin

See also: Graphical sound , Trautonium , and Harald Bode Lihat juga: suara Grafis , Trautonium , dan Harald Bode

This decade brought a wealth of early electronic instruments and the first compositions for electronic instruments. Dekade ini membawa banyak instrumen elektronik awal dan komposisi pertama untuk instrumen elektronik. The first instrument, the Etherophone, was created by Léon Theremin (born Lev Termen ) between 1919 and 1920 in Leningrad, though it was eventually renamed the Theremin. Instrumen pertama, Etherophone tersebut, diciptakan oleh Léon Theremin (lahir Lev Termen ) antara 1919 dan 1920 di Leningrad, meskipun akhirnya berganti nama Theremin ini. This led to the first compositions for electronic instruments, as opposed to noisemakers and re-purposed machines. Hal ini menyebabkan komposisi pertama untuk instrumen elektronik, yang bertentangan dengan noisemakers dan re-bertujuan mesin. In 1929, Joseph Schillinger composed First Airphonic Suite for Theremin and Orchestra , premièred with the Cleveland Orchestra with Leon Theremin as soloist. Pada tahun 1929, Joseph Schillinger terdiri Pertama Airphonic Suite untuk Theremin dan Orchestra, perdana dengan Cleveland Orchestra dengan Leon Theremin sebagai solois.
In addition to the Theremin, the Ondes Martenot was invented in 1928 by Maurice Martenot, who debuted it in Paris. ^{[ 15 ]} Selain Theremin ini, Martenot Ondes diciptakan pada tahun 1928 oleh Maurice Martenot, yang memulai debutnya di Paris. ^[15]
The following year, Antheil first composed for mechanical devices, electrical noisemakers, motors and amplifiers in his unfinished opera, Mr. Tahun berikutnya, Antheil pertama terdiri untuk perangkat mekanik, noisemakers listrik, motor dan amplifier dalam opera yang belum selesai, Mr Bloom . Mekar.
Recording of sounds made a leap in 1927, when American inventor JA O'Neill developed a recording device that used magnetically coated ribbon. Rekaman suara membuat lompatan pada tahun 1927, ketika Amerika penemu JA O'Neill mengembangkan perangkat perekam yang digunakan magnetis pita dilapisi. However, this was a commercial failure. Namun, ini adalah kegagalan komersial. Two years later, Laurens Hammond established his company for the manufacture of electronic instruments. Dua tahun kemudian, Laurens Hammond mendirikan perusahaannya untuk pembuatan instrumen elektronik. He went on to produce the Hammond organ , which was based on the principles of the Telharmonium , along with other developments including early reverberation units. ^{[ 16 ]} Hammond (along with John Hanert and CN Williams) would also go on to invent another electronic instrument, the Novachord , which Hammond's company manufactured from 1939–1942. ^{[ 17 ]} Dia melanjutkan untuk menghasilkan organ Hammond , yang didasarkan pada prinsip-prinsip Telharmonium , bersama dengan perkembangan lain termasuk unit gema awal. ^[16] Hammond (bersama dengan John Hanert dan CN Williams) juga akan pergi untuk menciptakan instrumen lain elektronik , yang Novachord , dimana perusahaan Hammond diproduksi 1939-1942. ^[17]
The method of photo-optic sound recording used in cinematography made it possible to obtain a visible image of a sound wave, as well as to realize the opposite goal—synthesizing a sound from an artificially drawn sound wave. Metode foto optik rekaman suara yang digunakan dalam sinematografi memungkinkan untuk mendapatkan gambar terlihat dari gelombang suara, serta untuk mewujudkan tujuan-sintesis sebaliknya suara dari gelombang suara yang ditarik secara artifisial.
In this same period, experiments began with sound art , early practitioners of which include Tristan Tzara , Kurt Schwitters , Filippo Tommaso Marinetti , and others. Dalam periode yang sama, percobaan dimulai dengan seni suara , praktisi awal yang meliputi Tristan Tzara , Kurt Schwitters , Filippo Tommaso Marinetti , dan lainnya.

Pembangunan: 1940 untuk tahun 1950

musik rekaman electroacoustic

See also: Electroacoustic music and Tape music Lihat juga: musik electroacoustic dan musik Tape

Halim El-Dabh at a Cleveland festival in 2009. Halim El-Dabh di Cleveland festival di 2009.

Low-fidelity magnetic wire recorders had been in use since around 1900 ^{[ 18 ]} and in the early 1930s the movie industry began to convert to the new optical sound-on-film recording systems based on the photoelectric cell . ^{[ 19 ]} It was around this time that the German electronics company AEG developed the first practical audio tape recorder , the " Magnetophon " K-1, which was unveiled at the Berlin Radio Show in August 1935. ^{[ 20 ]} Low-fidelity magnetik perekam kawat telah digunakan sejak sekitar tahun 1900 ^[18] dan di awal 1930-an industri film mulai mengkonversi ke optik baru suara-on-film sistem perekaman didasarkan pada sel fotolistrik . ^[19] Saat itu sekitar kali ini bahwa perusahaan elektronik Jerman AEG mengembangkan praktis pertama Audio tape recorder , yang " Magnetophon "K-1, yang diresmikan di Radio Show di Berlin pada bulan Agustus 1935. ^[20]
During World War II , Walter Weber rediscovered and applied the AC biasing technique, which dramatically improved the fidelity of magnetic recording by adding an inaudible high-frequency tone. Selama Perang Dunia II , Walter Weber ditemukan kembali dan menerapkan AC biasing teknik, yang secara dramatis meningkatkan kesetiaan dari rekaman magnetik dengan menambahkan nada frekuensi tinggi terdengar. It extended the 1941 'K4' Magnetophone frequency curve to 10 kHz and improved the dynamic range up to 60 dB, ^{[ 21 ]} surpassing all known recording systems at that time. ^{[ 22 ]} Ini diperpanjang kurva Magnetophone frekuensi 'K4' 1941-10 kHz dan meningkatkan rentang dinamis hingga 60 dB, ^[21] melebihi semua sistem perekaman dikenal pada waktu itu. ^[22]
As early as 1942 AEG was making test recordings in stereo . ^{[ 23 ]} However these devices and techniques remained a secret outside Germany until the end of WWII, when captured Magnetophon recorders and reels of Farben ferric-oxide recording tape were brought back to the United States by Jack Mullin and others. ^{[ 24 ]} These captured recorders and tapes were the basis for the development of America's first commercially made professional tape recorder, the Model 200, manufactured by the American Ampex company ^{[ 25 ]} with support from entertainer Bing Crosby , who became one of the first performers to record radio broadcasts and studio master recordings on tape. ^{[ 26 ]} Pada awal 1942 AEG sedang membuat rekaman tes dalam stereo . ^[23] Namun perangkat ini dan teknik tetap menjadi rahasia di luar Jerman sampai akhir Perang Dunia II, ketika ditangkap Magnetophon perekam dan gulungan Farben besi-oksida pita rekaman dibawa kembali ke Amerika Serikat oleh Jack Mullin dan lainnya. ^[24] Perekam ini ditangkap dan kaset adalah dasar untuk pengembangan perekam pertama Amerika rekaman komersial yang dibuat profesional, Model 200, diproduksi oleh American Ampex perusahaan ^[25] dengan dukungan dari penghibur Bing Crosby , yang menjadi salah satu pemain pertama yang merekam siaran radio dan studio rekaman master pada tape. ^[26]
Magnetic audio tape opened up a vast new range of sonic possibilities to musicians, composers, producers and engineers. Rekaman audio magnetik membuka berbagai kemungkinan baru yang luas sonik untuk musisi, komposer, produser dan insinyur. Audio tape was relatively cheap and very reliable, and its fidelity of reproduction was better than any audio medium to date. Rekaman audio relatif murah dan sangat dapat diandalkan, dan kesetiaan dalam reproduksi lebih baik dari media audio untuk saat ini. Most importantly, unlike discs, it offered the same plasticity of use as film. Yang paling penting, tidak seperti cakram, itu menawarkan plastisitas yang sama digunakan sebagai film. Tape can be slowed down, sped up or even run backwards during recording or playback, with often startling effect. Tape dapat diperlambat, dipercepat atau bahkan berjalan mundur selama perekaman atau pemutaran, dengan efek sering mengejutkan. It can be physically edited in much the same way as film, allowing for unwanted sections of a recording to be seamlessly removed or replaced; likewise, segments of tape from other sources can be edited in. Tape can also be joined to form endless loops that continually play repeated patterns of pre-recorded material. Hal ini dapat diedit secara fisik dalam banyak cara yang sama seperti film, memungkinkan untuk bagian yang tidak diinginkan rekaman menjadi mulus dihapus atau diganti, demikian pula, segmen pita dari sumber lain dapat diedit masuk Tape juga dapat bergabung untuk membentuk tanpa akhir loop yang terus memainkan pola berulang dari pra-rekaman materi. Audio amplification and mixing equipment further expanded tape's capabilities as a production medium, allowing multiple pre-taped recordings (and/or live sounds, speech or music) to be mixed together and simultaneously recorded onto another tape with relatively little loss of fidelity. Amplifikasi audio dan peralatan pencampuran lebih diperluas kemampuan tape sebagai media produksi, yang memungkinkan beberapa pra-taped rekaman (dan / atau suara hidup, pembicaraan atau musik) untuk dicampur bersama dan sekaligus direkam ke tape lain dengan kerugian relatif sedikit kesetiaan. Another unforeseen windfall was that tape recorders can be relatively easily modified to become echo machines that produce complex, controllable, high-quality echo and reverberation effects (most of which would be practically impossible to achieve by mechanical means). Lain rejeki nomplok tak terduga adalah bahwa tape recorder dapat relatif mudah dimodifikasi untuk menjadi gema mesin yang menghasilkan kompleks, terkontrol, berkualitas tinggi gema dan gema efek (yang sebagian besar akan hampir mustahil untuk mencapai dengan cara mekanis).
The spread of tape recorders eventually led to the development of electroacoustic tape music . Penyebaran tape recorder akhirnya mengarah pada pengembangan electroacoustic musik rekaman . The first known example was composed in 1944 by Halim El-Dabh , a student at Cairo , Egypt . ^{[ 27 ]} He recorded the sounds of an ancient zaar ceremony using a cumbersome wire recorder and at the Middle East Radio studios processed the material using reverberation, echo, voltage controls, and re-recording. Contoh pertama yang diketahui terdiri pada tahun 1944 oleh Halim El-Dabh , seorang mahasiswa di Kairo , Mesir . ^[27] Ia mencatat suara kuno zaar upacara menggunakan rumit perekam kawat dan di Timur Tengah Radio studio diproses menggunakan bahan gema , echo, kontrol tegangan, dan kembali rekaman. The resulting work was entitled The Expression of Zaar and it was presented in 1944 at an art gallery event in Cairo. Pekerjaan yang dihasilkan berjudul Ekspresi Zaar dan disajikan pada tahun 1944 di sebuah acara galeri seni di Kairo. While his initial experiments in tape based composition were not widely known outside of Egypt at the time, El-Dabh is also notable for his later work in electronic music at the Columbia-Princeton Electronic Music Center in the late 1950s. ^{[ 28 ]} Sementara percobaan awal di komposisi pita berbasis tidak banyak dikenal di luar Mesir pada saat itu, El-Dabh ini juga terkenal karena kemudian bekerja di musik elektronik di Pusat Columbia-Princeton Musik Elektronik di akhir 1950-an. ^[28]

Musique beton

Main article: Musique concrète Artikel utama: Musique beton

See also: Acousmatic music Lihat juga: musik Acousmatic

It wasn't long before composers in Paris also began using the tape recorder to develop a new technique for composition called Musique concrète . Tak lama sebelum komposer di Paris juga mulai menggunakan tape recorder untuk mengembangkan teknik baru untuk komposisi disebut Musique beton . This technique involved editing together recorded fragments of natural and industrial sounds. ^{[ 29 ]} The first pieces of musique concrète in Paris were assembled by Pierre Schaeffer , who went on to collaborate with Pierre Henry . Teknik ini melibatkan mengedit bersama fragmen tercatat suara alam dan industri. ^[29] Potongan pertama musique beton di Paris yang dirakit oleh Pierre Schaeffer , yang kemudian bekerja sama dengan Pierre Henry .
On 5 October 1948, Radiodiffusion Française (RDF) broadcast composer Pierre Schaeffer 's Etude aux chemins de fer . Pada tanggal 5 Oktober 1948, Radiodiffusion Française (RDF) siaran komposer Pierre Schaeffer 's Etude aux Chemins de fer. This was the first " movement " of Cinq études de bruits , and marked the beginning of studio realizations ^{[ 30 ]} and musique concrète (or acousmatic art). Ini adalah "pertama gerakan "dari Cinq de bruit Études, dan menandai awal realisasi studio ^[30] dan musique beton (atau seni acousmatic). Schaeffer employed a disk-cutting lathe , four turntables, a four-channel mixer, filters, an echo chamber, and a mobile recording unit. Schaeffer dipekerjakan disk pemotongan bubut , empat turntable, mixer empat saluran, filter, ruang gema, dan unit rekaman mobile. Not long after this, Henry began collaborating with Schaeffer, a partnership that would have profound and lasting effects on the direction of electronic music. Tidak lama setelah ini, Henry mulai berkolaborasi dengan Schaeffer, sebuah kemitraan yang akan memiliki efek mendalam dan abadi pada arah musik elektronik. Another associate of Schaeffer, Edgard Varèse , began work on Déserts , a work for chamber orchestra and tape. Lain asosiasi dari Schaeffer, Edgard Varese , mulai bekerja pada Gurun , sebuah karya untuk orkestra dan tape. The tape parts were created at Pierre Schaeffer's studio, and were later revised at Columbia University. Bagian rekaman diciptakan di studio Pierre Schaeffer, dan kemudian direvisi di Columbia University.
In 1950, Schaeffer gave the first public (non-broadcast) concert of musique concrète at the Ecole Normale de Musique de Paris . Pada tahun 1950, Schaeffer memberi publik pertama (non-broadcast) konser musique beton di Ecole Normale de Musique de Paris . "Schaeffer used a PA system , several turntables, and mixers. The performance did not go well, as creating live montages with turntables had never been done before." ^{[ 31 ]} Later that same year, Pierre Henry collaborated with Schaeffer on Symphonie pour un homme seul (1950) the first major work of musique concrete. "Schaeffer menggunakan sistem PA , turntable beberapa, dan mixer kinerja tidak berjalan dengan baik, seperti membuat montages hidup dengan turntable belum pernah dilakukan sebelumnya. ". ^[31] Kemudian pada tahun yang sama, Pierre Henry berkolaborasi dengan Schaeffer pada Symphonie pour un homme seul (1950) karya besar pertama dari beton musique. In Paris in 1951, in what was to become an important worldwide trend, RTF established the first studio for the production of electronic music. Di Paris pada tahun 1951, dalam apa yang menjadi tren di seluruh dunia penting, RTF mendirikan studio pertama untuk produksi musik elektronik. Also in 1951, Schaeffer and Henry produced an opera, Orpheus , for concrete sounds and voices. Juga pada tahun 1951, Schaeffer dan Henry menghasilkan opera, Orpheus, untuk suara beton dan suara-suara.

Elektronische Musik

Karlheinz Stockhausen in the Electronic Music Studio of WDR, Cologne, in 1991 Karlheinz Stockhausen di Studio Musik Elektronik WDR, Cologne, pada tahun 1991

Karlheinz Stockhausen worked briefly in Schaeffer's studio in 1952, and afterward for many years at the WDR Cologne 's Studio for Electronic Music. Karlheinz Stockhausen bekerja sebentar di studio Schaeffer di 1952, dan setelah itu selama bertahun-tahun di WDR Cologne Studio untuk Musik Elektronik.
In Cologne, what would become the most famous electronic music studio in the world was officially opened at the radio studios of the NWDR in 1953, though it had been in the planning stages as early as 1950 and early compositions were made and broadcast in 1951. ^{[ 32 ]} The brain child of Werner Meyer-Eppler , Robert Beyer, and Herbert Eimert (who became its first director), the studio was soon joined by Karlheinz Stockhausen and Gottfried Michael Koenig . Di Cologne, apa yang akan menjadi studio musik elektronik yang paling terkenal di dunia secara resmi dibuka di studio radio dari NWDR pada tahun 1953, meskipun sudah dalam tahap perencanaan sedini tahun 1950 dan komposisi awal dibuat dan disiarkan pada tahun 1951. ^[32] Para anak otak Werner Meyer-Eppler , Robert Beyer, dan Herbert Eimert (yang menjadi direktur pertamanya), studio segera bergabung dengan Karlheinz Stockhausen dan Gottfried Michael Koenig . In his 1949 thesis Elektronische Klangerzeugung: Elektronische Musik und Synthetische Sprache , Meyer-Eppler conceived the idea to synthesize music entirely from electronically produced signals; in this way, elektronische Musik was sharply differentiated from French musique concrète , which used sounds recorded from acoustical sources. ^{[ 33 ]} Pada tahun 1949 tesisnya Elektronische Klangerzeugung: Elektronische Musik und Synthetische Sprache, Meyer-Eppler dikandung ide untuk mensintesis musik sepenuhnya dari sinyal elektronik yang dihasilkan; dengan cara ini, elektronische Musik secara tajam dibedakan dari Perancis musique beton, yang menggunakan suara direkam dari sumber akustik. ^[33]
With Stockhausen and Mauricio Kagel in residence, it became a year-round hive of charismatic avante-gardism [ sic ]" ^{[ 34 ]} on two occasions combining electronically generated sounds with relatively conventional orchestras —in Mixtur (1964) and Hymnen, dritte Region mit Orchester (1967). ^{[ 35 ]} 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" ^{[ 36 ]} More recently, Stockhausen turned to producing electronic music in his own studio in Kürten , his last work in the genre being Cosmic Pulses (2007). Dengan Stockhausen dan Mauricio Kagel di rumah, itu menjadi sarang sepanjang tahun dari avante-gardism karismatik [sic] " ^[34] dua kali menggabungkan suara elektronik yang dihasilkan dengan relatif konvensional orkestra -in Mixtur (1964) dan Hymnen, dritte Daerah mit Orchester (1967). ^[35] Stockhausen menyatakan bahwa pendengarnya telah mengatakan kepadanya musik elektronik itu memberi mereka pengalaman "luar angkasa," sensasi terbang, atau berada di "dunia mimpi fantastis" ^[36] Baru-baru ini, Stockhausen berubah untuk memproduksi musik elektronik di studio sendiri di Kurten , pekerjaan terakhirnya dalam genre menjadi Pulsa Cosmic (2007).

musik elektronik Jepang

This section may be confusing or unclear to readers . Bagian ini mungkin membingungkan atau tidak jelas bagi pembaca. Please help clarify the section ; suggestions may be found on the talk page . (March 2012) Harap membantu memperjelas bagian ; saran dapat ditemukan di halaman pembicaraan (Maret 2012).

While early electric instruments such as the Ondes Martenot , Theremin and Trautonium were little known in Japan prior to World War II , ^{[ neutrality is disputed ]} certain composers such as Minao Shibata had known about them at the time. Sementara awal instrumen listrik seperti Martenot Ondes , Theremin dan Trautonium yang sedikit dikenal di Jepang sebelum Perang Dunia II , ^{[ netralitas adalah disengketakan ]} komposer tertentu seperti Minao Shibata tahu tentang mereka pada saat itu. Several years after the end of World War II , musicians in Japan began experimenting with electronic music, resulting in some of the most dedicated efforts due to institutional sponsorship enabling composers to experiment with the latest audio recording and processing equipment. Beberapa tahun setelah akhir Perang Dunia II , musisi di Jepang mulai bereksperimen dengan musik elektronik, sehingga beberapa upaya paling berdedikasi karena sponsor kelembagaan yang memungkinkan komposer untuk bereksperimen dengan peralatan rekaman terbaru dan pengolahan audio. These efforts represented an infusion of Asian music into the emerging genre and would eventually pave the way for Japan's domination in the development of music technology several decades later. ^{[ 37 ]} Upaya ini mewakili sebuah infus dari musik Asia ke dalam genre yang muncul dan akhirnya akan membuka jalan bagi dominasi Jepang dalam pengembangan teknologi musik beberapa dekade kemudian. ^[37]
Following the foundation of electronics company Sony (then called Tokyo Tsushin Kogyo KK) in 1946, two Japanese composers, Toru Takemitsu and Minao Shibata, independently wrote about the possible use of electronic technology to produce music during the late 1940s. ^{[ 38 ]} In 1948, Takemitsu conceived of a technology that would "bring noise into tempered musical tones inside a busy small tube," an idea similar to Pierre Schaeffer 's musique concrète the same year, which Takemitsu was unaware of until several years later. Setelah dasar dari perusahaan elektronik Sony (kemudian bernama Tokyo Tsushin Kogyo KK) pada tahun 1946, dua komposer Jepang, Toru Takemitsu dan Minao Shibata, secara independen menulis tentang kemungkinan penggunaan teknologi elektronik untuk menghasilkan musik selama 1940-an. ^[38] Pada tahun 1948 , Takemitsu disebut sebagai teknologi yang akan "membawa suara ke dalam nada musik marah di dalam tabung kecil sibuk," sebuah ide yang mirip dengan Pierre Schaeffer 's beton musique tahun yang sama, yang Takemitsu tidak menyadari sampai beberapa tahun kemudian. In 1949, Shibata wrote about his concept of "a musical instrument with very high performance" that can " synthesize any kind of sound waves" and is "operated very easily," predicting that with such an instrument, "the music scene will be changed drastically." ^{[ 39 ]} The same year, Sony developed the magnetic tape recorder G-Type, ^{[ 40 ]} which became a popular recording device for use in courtrooms and government offices, leading to Sony releasing the H-Type for home use by 1951. ^{[ 37 ]} Pada tahun 1949, Shibata menulis tentang konsep "alat musik dengan kinerja sangat tinggi" yang dapat " mensintesis segala bentuk gelombang suara "dan" dioperasikan sangat mudah, "memprediksi bahwa dengan instrumennya," dunia musik akan berubah drastis ". ^[39] Pada tahun yang sama, Sony mengembangkan magnetik tape recorder G-Type, ^[40] yang menjadi alat perekam populer untuk digunakan dalam ruang sidang dan kantor pemerintah, menyebabkan Sony merilis H-Type untuk digunakan di rumah dengan 1951 . ^[37]
In 1950, the Jikken Kobo (Experimental Workshop) electronic music studio would be founded by a group of musicians in order to produce experimental electronic music using Sony tape recorders. Pada tahun 1950, Kobo Jikken (Workshop Eksperimental) studio musik elektronik akan didirikan oleh sekelompok musisi untuk menghasilkan musik elektronik eksperimental menggunakan perekam Sony tape. It included musicians such as Toru Takemitsu, Kuniharu Akiyama, and Joji Yuasa , and was supported by Sony, which offered them access to the latest audio technology, hired Takemitsu to compose electronic tape music to demonstrate their tape recorders, and sponsored concerts. ^{[ 41 ]} The first electronic tape music from the group were "Toraware no Onna" ("Imprisoned Woman") and "Piece B", completed in 1951 by Kuniharu Akiyama. ^{[ 42 ]} Many of the electroacoustic tape pieces they produced were usually used as incidental music for radio , film , and theatre . Ini termasuk musisi seperti Toru Takemitsu, Kuniharu Akiyama, dan Joji Yuasa , dan didukung oleh Sony, yang menawarkan mereka akses ke teknologi audio terbaru, menyewa Takemitsu menyusun elektronik musik rekaman untuk menunjukkan tape recorder mereka, dan konser disponsori. ^{[41 ]} Yang pertama rekaman musik elektronik dari kelompok tersebut adalah "Toraware tidak Onna" ("Wanita Dipenjara") dan "Piece B", selesai pada tahun 1951 oleh Kuniharu Akiyama. ^[42] Banyak electroacoustic potongan rekaman mereka memproduksi umumnya digunakan untuk insidental musik untuk radio , Film , dan teater . They also held concerts such as 1953's Experimental Workshop, 5th Exhibition , which employed an 'auto-slide', a machine developed by Sony that made it possible to synchronize a slide show with a soundtrack recorded on tape; they used the same device to produce the concert's tape music at the Sony studio. Mereka juga mengadakan konser seperti Lokakarya Eksperimental 1953 ini, Pameran 5th, yang mempekerjakan 'auto-slide', sebuah mesin yang dikembangkan oleh Sony yang memungkinkan untuk melakukan sinkronisasi slide show dengan soundtrack yang direkam pada kaset, mereka menggunakan perangkat yang sama untuk menghasilkan konser musik yang rekaman di studio Sony. The concert, along with the experimental electroacoustic tape music they produced, anticipated the introduction of musique concrète in Japan later that year. ^{[ 43 ]} Beyond the Jikken Kobo, several other composers such as Yasushi Akutagawa , Saburo Tominaga and Shiro Fukai were also experimenting with producing radiophonic tape music between 1952 and 1953. ^{[ 40 ]} Konser, bersama dengan musik rekaman eksperimental electroacoustic mereka memproduksi, diantisipasi pengenalan musique beton di Jepang akhir tahun itu. ^[43] Di luar Kobo Jikken, komposer lain seperti Yasushi Akutagawa , Saburo Tominaga dan Shiro Fukai juga bereksperimen dengan memproduksi radiophonic musik rekaman antara 1952 dan 1953. ^[40]
Japan was introduced to musique concrète through Toshiro Mayuzumi , who in 1952 attended a Schaeffer concert in Paris . ^{[ 42 ]} On his return to Japan, he experimented with a short tape music piece for the 1952 comedy film Carmen Jyunjyosu ( Carmen With Pure Heart ) ^{[ 44 ]} and then produced "X, Y, Z for Musique Concrète" which was broadcast by the JOQR radio station in 1953. ^{[ 42 ]} Mayuzumi also composed another musique concrète piece for Yukio Mishima 's 1954 radio drama Boxing . ^{[ 44 ]} Schaeffer's French concept of objet sonore ( sound object ), however, was not influential among Japanese composers, whose main interest in music technology was instead to, according to Mayuzumi, overcome the restrictions of "the materials or the boundary of human performance." ^{[ 45 ]} This led to several Japanese electroacoustic musicians making use of serialism and twelve-tone techniques , ^{[ 45 ]} evident in Yoshiro Irino 's 1951 dodecaphonic piece "Concerto da Camera", ^{[ 44 ]} in the organization of electronic sounds in Mayuzumi's "X, Y, Z for Musique Concrète", and later in Shibata's electronic music by 1956. ^{[ 46 ]} Jepang diperkenalkan ke musique beton melalui Toshiro Mayuzumi , yang pada tahun 1952 menghadiri konser Schaeffer di Paris . ^[42] Setelah kembali ke Jepang, ia bereksperimen dengan sepotong musik rekaman pendek untuk 1952 film komedi Carmen Jyunjyosu (Carmen Dengan Hati Murni) ^[44] dan kemudian menghasilkan "X, Y, Z untuk Musique Concrete" yang disiarkan oleh JOQR stasiun radio pada tahun 1953. ^[42] Mayuzumi juga terdiri sepotong beton musique untuk Yukio Mishima 's 1954 drama radio Tinju. ^[44] konsep Perancis Schaeffer dari objet sonore (objek suara), bagaimanapun, tidak berpengaruh di antara komposer Jepang, yang utama minat dalam teknologi musik itu bukan untuk, menurut Mayuzumi, mengatasi pembatasan dari "materi atau batas kinerja manusia." ^{[ 45]} Hal ini menyebabkan beberapa Jepang musisi electroacoustic memanfaatkan serialism dan dua belas nada teknik , ^[45] jelas dalam Yoshiro Irino 's 1951 dodecaphonic sepotong "Kamera Concerto da", ^[44] dalam organisasi suara elektronik dalam "Mayuzumi X , Y, Z untuk Musique Concrete ", dan kemudian pada musik elektronik Shibata dengan 1956. ^[46]
Following the lead of the Cologne studio established in 1953, Japan's NHK company established one of the world's leading electronic music facilities in Tokyo, the NHK Studio, in 1954, equipping it with technologies such as tone-generating and audio processing equipment, recording and radiophonic equipment, Ondes Martenot , Monochord and Melochord , sine wave oscillators , tape recorders, ring modulators , band-pass filters , and four & eight channel mixers . Mengikuti jejak studio Cologne didirikan pada tahun 1953, Jepang NHK perusahaan yang didirikan salah satu fasilitas terkemuka di dunia musik elektronik di Tokyo, Studio NHK, pada tahun 1954, melengkapi dengan teknologi seperti nada yang menghasilkan dan peralatan pengolahan audio, rekaman dan radiophonic peralatan, Ondes Martenot, monochord dan Melochord , gelombang sinus osilator , tape recorder, modulator cincin , band-pass filter , dan empat & delapan channel mixer . Musicians associated with the studio included Toshiro Mayuzumi, Minao Shibata, Joji Yuasa, Toshi Ichiyanagi , and Toru Takemitsu. Musisi yang terkait dengan studio termasuk Toshiro Mayuzumi, Minao Shibata, Joji Yuasa, Toshi Ichiyanagi , dan Toru Takemitsu. The studio's first electronic compositions were complete in 1955, including Mayuzumi's 5-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". ^{[ 47 ]} Komposisi pertama studio elektronik yang lengkap pada tahun 1955, termasuk 5-menit Mayuzumi yang potongan "Studie I: Musik untuk Sine Wave oleh Proporsi Nomor Perdana", "Musik untuk Gelombang Modulated oleh Proporsi Nomor Perdana" dan "Invensi Square Wave dan Sawtooth Wave "diproduksi menggunakan berbagai studio nada yang menghasilkan kemampuan, dan 20-menit Shibata stereo sepotong "beton Musique untuk Broadcast stereoponis". ^[47]
Ikutaro Kakehashi founded a repair shop called Kakehashi Watch Shop in the late 1940s repairing watches and radios, and then in 1954 founded Kakehashi Musen ("Kakehashi Radio"), which eventually grew into the company Ace Tone by 1960 and later the Roland Corporation by 1972. Ikutaro Kakehashi didirikan sebuah bengkel disebut Kakehashi Tonton Toko di akhir 1940-an memperbaiki jam tangan dan radio, dan kemudian pada tahun 1954 didirikan Kakehashi Musen ("Kakehashi Radio"), yang akhirnya berkembang menjadi perusahaan Nada Ace oleh 1960 dan kemudian Korporasi Roland Tahun 1972 . Kakehashi began producing electronic musical instruments since 1955, with the aim of creating ones capable of producing monophonic melodies. Kakehashi mulai memproduksi alat-alat musik elektronik sejak 1955, dengan tujuan membuat yang mampu menghasilkan monophonic melodi. During the late 1950s, he produced theramins , Ondes Martenots , and electronic keyboards , and by 1959, a Hawaiian guitar amplifier and electronic organs . ^{[ 48 ] [ neutrality is disputed ]} Selama akhir 1950-an, ia menghasilkan theramins , Martenots Ondes , dan keyboard elektronik , dan 1959, Hawaii amplifier gitar dan organ elektronik . ^{[48] [ netralitas yang diperdebatkan ]}

Amerika elektronik musik

In the United States, sounds were being created electronically and used in composition, as exemplified in a piece by Morton Feldman called Marginal Intersection . Di Amerika Serikat, suara sedang dibuat secara elektronik dan digunakan dalam komposisi, sebagaimana dicontohkan dalam sepotong oleh Morton Feldman disebut temu Marjinal. This piece is scored for winds, brass, percussion, strings, 2 oscillators, and sound effects of riveting, and the score uses Feldman's graph notation. Karya ini dinilai untuk angin, kuningan, perkusi, string, 2 osilator, dan efek suara memukau, dan skor menggunakan notasi grafik Feldman.
The Music for Magnetic Tape Project was formed by members of the New York School ( John Cage , Earle Brown , Christian Wolff , David Tudor , and Morton Feldman ), ^{[ 49 ]} and lasted three years until 1954. Musik untuk Proyek Tape Magnetic dibentuk oleh anggota New York Sekolah ( John Cage , Earle Brown , Kristen Wolff , David Tudor , dan Morton Feldman ), ^[49] dan berlangsung selama tiga tahun sampai 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. ^{[ 50 ]} Cage menulis tentang kolaborasi ini: "Dalam kegelapan sosial, oleh karena itu, karya Earle Brown, Morton Feldman, dan Christian Wolff terus menghadirkan cahaya cemerlang, dengan alasan bahwa di beberapa titik notasi, kinerja, dan audisi, tindakan adalah provokatif. ^[50]
Cage completed Williams Mix in 1953 while working with the Music for Magnetic Tape Project. ^{[ 51 ]} The group had no permanent facility, and had to rely on borrowed time in commercial sound studios, including the studio of Louis and Bebe Barron . Cage selesai Williams Mix pada tahun 1953 saat bekerja dengan Musik untuk Proyek Magnetic Tape. ^[51] Kelompok ini tidak memiliki fasilitas permanen, dan harus bergantung pada waktu meminjam di studio suara komersial, termasuk studio Louis dan Bebe Barron .

Columbia-Princeton Pusat

Further information: Columbia-Princeton Electronic Music Center Informasi lebih lanjut: Columbia-Princeton Elektronik Musik Pusat

See also: Vladimir Ussachevsky and RCA Mark II Sound Synthesizer Lihat juga: Vladimir Ussachevsky dan RCA Mark II Synthesizer Suara

In the same year Columbia University purchased its first tape recorder —a professional Ampex machine—for the purpose of recording concerts. Vladimir Ussachevsky , who was on the music faculty of Columbia University, was placed in charge of the device, and almost immediately began experimenting with it. Pada tahun yang sama Universitas Columbia dibeli pertama tape recorder -profesional Ampex mesin untuk tujuan konser rekaman. Vladimir Ussachevsky , yang di fakultas musik dari Columbia University, ditempatkan bertugas perangkat, dan segera mulai bereksperimen dengan itu.
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." ^{[ 52 ]} Ussachevsky said later: "I suddenly realized that the tape recorder could be treated as an instrument of sound transformation." ^{[ 52 ]} On Thursday, May 8, 1952, Ussachevsky presented several demonstrations of tape music/effects that he created at his Composers Forum, in the McMillin Theatre at Columbia University. Herbert Russcol menulis: ". Segera ia tertarik dengan sonorities baru ia bisa mencapai dengan merekam alat musik dan kemudian melapiskan mereka pada satu sama lain" ^[52] Ussachevsky kemudian mengatakan: "Saya tiba-tiba menyadari bahwa tape recorder dapat diperlakukan sebagai instrumen transformasi suara ". ^[52] Pada Kamis, 8 Mei, 1952, Ussachevsky disajikan demonstrasi beberapa musik kaset / efek yang dia buat di Forum Komponis Nya, menurut Teater McMillin di Columbia University. These included Transposition, Reverberation, Experiment, Composition , and Underwater Valse . Transposisi ini termasuk, Gema, Percobaan, Komposisi, dan Valse Underwater. 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." ^{[ 52 ]} 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." ^{[ 53 ]} Dalam sebuah wawancara, ia menyatakan: "Saya disajikan beberapa contoh dari penemuan saya dalam sebuah konser publik di New York bersama-sama dengan komposisi lain yang saya tulis untuk instrumen konvensional." ^[52] Otto Luening , yang menghadiri konser ini, mengatakan: " Peralatan yang di pembuangan terdiri dari sebuah tape recorder Ampex ... dan perangkat seperti kotak sederhana yang dirancang oleh insinyur muda yang brilian, Peter Mauzey, untuk menciptakan umpan balik, bentuk dengung mesin. Peralatan lainnya dipinjam atau dibeli dengan dana pribadi ". ^[53]
Just three months later, in August 1952, Ussachevsky traveled to Bennington, Vermont at Luening's invitation to present his experiments. Hanya tiga bulan kemudian, pada bulan Agustus 1952, Ussachevsky pergi ke Bennington, Vermont pada undangan Luening untuk menyajikan eksperimennya. There, the two collaborated on various pieces. Di sana, dua berkolaborasi pada berbagai potongan. Luening described the event: "Equipped with earphones and a flute, I began developing my first tape-recorder composition. Both of us were fluent improvisors and the medium fired our imaginations." ^{[ 53 ]} 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)." ^{[ 53 ]} Luening menggambarkan peristiwa ini: "Dilengkapi dengan earphone dan suling, saya mulai mengembangkan pertama saya tape-recorder komposisi Kami berdua improvisors fasih dan menengah menembakkan imajinasi kita.". ^[53] Mereka memainkan beberapa potongan awal informal di sebuah pesta, dimana "sejumlah komposer hampir khidmat mengucapkan selamat kepada kami mengatakan, 'Ini dia' ('itu berarti musik masa depan)." ^[53]
Word quickly reached New York City. Firman cepat mencapai New York City. Oliver Daniel telephoned and invited the pair to "produce a group of short compositions for the October concert sponsored by the American Composers Alliance and Broadcast Music, Inc., under the direction of Leopold Stokowski at the Museum of Modern Art in New York. After some hesitation, we agreed. . . . Henry Cowell placed his home and studio in Woodstock, New York, at our disposal. With the borrowed equipment in the back of Ussachevsky's car, we left Bennington for Woodstock and stayed two weeks. . . . In late September, 1952, the travelling laboratory reached Ussachevsky's living room in New York, where we eventually completed the compositions." ^{[ 53 ]} Oliver Daniel menelepon dan mengundang pasangan untuk "menghasilkan sekelompok komposisi pendek untuk konser Oktober disponsori oleh Aliansi Komponis Amerika dan Musik Broadcast, Inc, di bawah arahan Leopold Stokowski di Museum of Modern Art di New York. Setelah beberapa ragu-ragu, kami sepakat .... Henry Cowell ditempatkan rumahnya dan studio di Woodstock, New York, yang kita miliki. Dengan meminjam peralatan di belakang mobil Ussachevsky, kita meninggalkan Bennington untuk Woodstock dan tinggal dua minggu .... Dalam akhir September 1952, laboratorium perjalanan sampai di kamar Ussachevsky yang tinggal di New York, di mana kita akhirnya menyelesaikan komposisi ". ^[53]
Two months later, on October 28, Vladimir Ussachevsky and Otto Luening presented the first Tape Music concert in the United States. Dua bulan kemudian, pada tanggal 28 Oktober Vladimir Ussachevsky dan Otto Luening mempresentasikan Musik konser Tape pertama di Amerika Serikat. The concert included Luening's Fantasy in Space (1952)—"an impressionistic virtuoso piece" ^{[ 53 ]} using manipulated recordings of flute—and Low Speed (1952), an "exotic composition that took the flute far below its natural range." ^{[ 53 ]} Both pieces were created at the home of Henry Cowell in Woodstock, NY. Konser termasuk Fantasi Luening di Ruang (1952) - "seorang impresionistik virtuoso sepotong " ^[53] menggunakan rekaman dimanipulasi seruling-dan Kecepatan Rendah (1952), sebuah "komposisi eksotis yang mengambil seruling jauh di bawah kisaran alamnya." ^{[53 ]} Kedua buah diciptakan di rumah Henry Cowell di Woodstock, NY. After several concerts caused a sensation in New York City, Ussachevsky and Luening were invited onto a live broadcast of NBC's Today Show to do an interview demonstration—the first televised electroacoustic performance. Setelah beberapa konser menimbulkan sensasi di New York City, Ussachevsky dan Luening diundang ke sebuah siaran langsung Today Show NBC untuk melakukan wawancara demonstrasi-kinerja electroacoustic pertama di televisi. Luening described the event: "I improvised some [flute] sequences for the tape recorder. Ussachevsky then and there put them through electronic transformations." ^{[ 54 ]} Luening menggambarkan peristiwa ini: ".. Saya improvisasi beberapa [suling] urutan untuk perekam kaset Ussachevsky itu juga menempatkan mereka melalui transformasi elektronik" ^[54]
1954 saw the advent of what would now be considered authentic electric plus acoustic compositions—acoustic instrumentation augmented/accompanied by recordings of manipulated and/or electronically generated sound. 1954 melihat munculnya apa yang sekarang dapat dianggap listrik ditambah akustik otentik komposisi-akustik instrumentasi ditambah / disertai dengan rekaman dimanipulasi dan / atau elektronik suara yang dihasilkan. Three major works were premiered that year: Varèse's Déserts , for chamber ensemble and tape sounds, and two works by Luening and Ussachevsky: Rhapsodic Variations for the Louisville Symphony and A Poem in Cycles and Bells , both for orchestra and tape. Tiga karya besar yang perdana tahun itu: Gurun Varese, untuk ansambel kamar dan suara tape, dan dua karya oleh Luening dan Ussachevsky: Variasi kagum untuk Symphony Louisville Puisi A dalam Siklus dan Bells, baik untuk orkestra dan tape. Because he had been working at Schaeffer's studio, the tape part for Varèse's work contains much more concrete sounds than electronic. Karena ia telah bekerja di studio Schaeffer, bagian tape untuk pekerjaan Varese mengandung suara beton lebih dari elektronik. "A group made up of wind instruments, percussion and piano alternates with the mutated sounds of factory noises and ship sirens and motors, coming from two loudspeakers." ^{[ 55 ]} "Sebuah kelompok terdiri dari alat musik tiup, perkusi dan piano bergantian dengan suara mutasi suara pabrik dan sirene kapal dan motor, datang dari dua pengeras suara." ^[55]
Déserts was premiered in Paris in the first stereo broadcast on French Radio. ^{[ citation needed ]} At the German premiere in Hamburg , which was conducted by Bruno Maderna , the tape controls were operated by Karlheinz Stockhausen . ^{[ 55 ]} The title Déserts , suggested to Varèse not only, "all physical deserts (of sand, sea, snow, of outer space, of empty streets), but also the deserts in the mind of man; not only those stripped aspects of nature that suggest bareness, aloofness, timelessness, but also that remote inner space no telescope can reach, where man is alone, a world of mystery and essential loneliness." ^{[ 56 ]} Gurun dipentaskan di Paris pada pertama stereo siaran di Radio Perancis. ^{[ rujukan? ]} Pada pemutaran perdana Jerman di Hamburg , yang dilakukan oleh Bruno Maderna , kontrol pita dioperasikan oleh Karlheinz Stockhausen . ^[55] gurun judul, disarankan untuk Varese tidak hanya, "semua gurun fisik (pasir, laut, salju, dari luar angkasa, jalan kosong), tetapi juga gurun dalam pikiran manusia, bukan saja aspek-aspek dilucuti alam yang menunjukkan ketelanjangan, sikap acuh tak acuh, keabadian, but also that remote inner space no telescope can reach, where man is alone, a world of mystery and essential loneliness." ^{[ 56 ]}
In 1958, Columbia-Princeton developed the RCA Mark II Sound Synthesizer , the first programmable synthesizer . ^{[ 57 ]} Prominent composers such as Vladimir Ussachevsky, Otto Luening, Milton Babbitt , Charles Wuorinen , Halim El-Dabh, Bülent Arel and Mario Davidovsky used the RCA Synthesizer extensively in various compositions. ^{[ 58 ]} One of the most influential composers associated with the early years of the studio was Egypt's Halim El-Dabh who, ^{[ 59 ]} after having developed the earliest known electronic tape music in 1944, ^{[ 27 ]} became more famous for Leiyla and the Poet , a 1959 series of electronic compositions which stood out for its immersion and seamless fusion of electronic and folk music , in contrast to the more mathematical approach used by serial composers such as Babbitt at the time. El-Dabh's Leiyla and the Poet , released as part of the album Columbia-Princeton Electronic Music Center in 1961, would be cited as a strong influence by a number of musicians, ranging from Neil Rolnick , Charles Amirkhanian and Alice Shields to rock musicians Frank Zappa and The West Coast Pop Art Experimental Band . ^{[ 60 ]}

Stochastic music

Main articles: Iannis Xenakis and Stochastic music

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

Mid-to-late 1950s

In 1954, Stockhausen composed his Elektronische Studie II —the first electronic piece to be published as a score. In 1955, more experimental and electronic studios began to appear. Notable were the creation of the Studio de Fonologia (already mentioned), a studio at the NHK in Tokyo founded by Toshiro Mayuzumi , and the Phillips studio at Eindhoven , the Netherlands , which moved to the University of Utrecht as the Institute of Sonology in 1960.
The score for Forbidden Planet , by Louis and Bebe Barron , ^{[ 61 ]} was entirely composed using custom built electronic circuits and tape recorders in 1956.
The world's first computer to play music was CSIRAC which was designed and built by Trevor Pearcey and Maston Beard. Mathematician Geoff Hill programmed the CSIRAC to play popular musical melodies from the very early 1950s. In 1951 it publicly played the Colonel Bogey March of which no known recordings exist. ^{[ 62 ]} However, CSIRAC played standard repertoire and was not used to extend musical thinking or composition practice which is current computer music practice. CSIRAC was never recorded, but the music played was accurately reconstructed (reference 12). The oldest known recordings of computer generated music were played by the Ferranti Mark 1 computer, a commercial version of the Baby Machine from the University of Manchester in the autumn of 1951. The music program was written by Christopher Strachey .
The impact of computers continued in 1956. Lejaren Hiller and Leonard Isaacson composed Iliac Suite for string quartet , the first complete work of computer-assisted composition using algorithmic composition. "... Hiller postulated that a computer could be taught the rules of a particular style and then called on to compose accordingly." ^{[ 63 ]} Later developments included the work of Max Mathews at Bell Laboratories, who developed the influential MUSIC I program. In 1957, MUSIC , one of the first computer programs to play electronic music, was created by Max Mathews at Bell Laboratories . Vocoder technology was also a major development in this early era. In 1956, Stockhausen composed Gesang der Jünglinge , the first major work of the Cologne studio, based on a text from the Book of Daniel . An important technological development of that year was the invention of the Clavivox synthesizer by Raymond Scott with subassembly by Robert Moog .
Also in 1957, Kid Baltan ( Dick Raaymakers ) and Tom Dissevelt released their debut album, Song Of The Second Moon, recorded at the Phillips studio. ^{[ 64 ]} The public remained interested in the new sounds being created around the world, as can be deduced by the inclusion of Varèse's Poème électronique , which was played over four hundred loudspeakers at the Phillips Pavilion of the 1958 Brussels World Fair . That same year, Mauricio Kagel , an Argentine composer, composed Transición II . The work was realized at the WDR studio in Cologne. Two musicians perform on a piano, one in the traditional manner, the other playing on the strings, frame, and case. Two other performers use tape to unite the presentation of live sounds with the future of prerecorded materials from later on and its past of recordings made earlier in the performance.

Expansion: 1960s

See also: Synthesizer , Harald Bode , Modular synthesizer , Buchla , and Moog Music

These were fertile years for electronic music—not just for academia, but for independent artists as synthesizer technology became more accessible. By this time, a strong community of composers and musicians working with new sounds and instruments was established and growing. 1960 witnessed the composition of Luening's Gargoyles for violin and tape as well as the premiere of Stockhausen's Kontakte for electronic sounds, piano, and percussion. This piece existed in two versions—one for 4-channel tape, and the other for tape with human performers. "In Kontakte , Stockhausen abandoned traditional musical form based on linear development and dramatic climax. This new approach, which he termed 'moment form,' resembles the 'cinematic splice' techniques in early twentieth century film." ^{[ 65 ]}
The first of these synthesizers to appear was the Buchla . Appearing in 1963, it was the product of an effort spearheaded by musique concrète composer Morton Subotnick . ^{[ citation needed ]}
The theremin had been in use since the 1920s but it attained a degree of popular recognition through its use in science-fiction film soundtrack music in the 1950s (eg, Bernard Herrmann 's classic score for The Day the Earth Stood Still ). ^{[ 66 ]}
In the UK in this period, the BBC Radiophonic Workshop (established in 1958) emerged one of the most productive and widely known electronic music studios in the world, ^{[ citation needed ]} thanks in large measure to their work on the BBC science-fiction series Doctor Who . One of the most influential British electronic artists in this period ^{[ 67 ]} was Workshop staffer Delia Derbyshire , who is now famous for her 1963 electronic realisation of the iconic Doctor Who theme , composed by Ron Grainer .

Israeli composer Josef Tal at the Electronic Music Studio in Jerusalem (~1965). On the right, Hugh Le Caine 's sound synthesizer the Special Purpose Tape Recorder.

In 1961 Josef Tal established the Centre for Electronic Music in Israel at The Hebrew University , and in 1962 Hugh Le Caine arrived in Jerusalem to install his Creative Tape Recorder in the centre. ^{[ 68 ]} In the 1990s Tal conducted, together with Dr Shlomo Markel, in cooperation with the Technion – Israel Institute of Technology , and VolkswagenStiftung a research project (Talmark) aimed at the development of a novel musical notation system for electronic music. ^{[ 69 ]}
Milton Babbitt composed his first electronic work using the synthesizer—his Composition for Synthesizer (1961)—which he created using the RCA synthesizer at the Columbia-Princeton Electronic Music Center.

For Babbitt, the RCA synthesizer was a dream come true for three reasons. First, the ability to pinpoint and control every musical element precisely. Second, the time needed to realize his elaborate serial structures were brought within practical reach. Third, the question was no longer "What are the limits of the human performer?" but rather "What are the limits of human hearing? ^{[ 70 ]}

The collaborations also occurred across oceans and continents. In 1961, Ussachevsky invited Varèse to the Columbia-Princeton Studio (CPEMC). Upon arrival, Varese embarked upon a revision of Déserts . He was assisted by Mario Davidovsky and Bülent Arel . ^{[ 71 ]}
The intense activity occurring at CPEMC and elsewhere inspired the establishment of the San Francisco Tape Music Center in 1963 by Morton Subotnick , with additional members Pauline Oliveros , Ramon Sender, Anthony Martin, and Terry Riley . Riley's overdubbed recording A Rainbow in Curved Air (1967) employed various electronic keyboard instruments, all played by the composer-improviser. ^{[ citation needed ]}
Later, the Center moved to Mills College , directed by Pauline Oliveros , where it is today known as the Center for Contemporary Music. ^{[ 72 ]}
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 a work at the San Francisco Museum of Modern Art (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. ^{[ 73 ]} In an SFMOMA performance the following year (1964), San Francisco Chronicle music critic Alfred Frankenstein commented, "the possibilities of the space-sound continuum have seldom been so extensively explored". ^{[ 73 ]} In 1967, the first Audium , a “sound-space continuum” opened, holding weekly performances through 1970. In 1975, enabled by seed money from the National Endowment for the Arts , a new Audium opened, designed floor to ceiling for spatial sound composition and performance. ^{[ 74 ]} “There are composers who manipulate 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 Poem Electronique (tape music performed in the Phillips Pavilion of the 1958 World Fair, Brussels) and Stanley Schaff's Audium installation, currently active in San Francisco.” ^{[ 75 ]} Through weekly programs (over 4,500 in 40 years), Shaff “sculpts” sound, performing now-digitized spatial works live through 176 speakers. ^{[ 76 ]}
A well-known example of the use of Moog's full-sized Moog modular synthesizer is the Switched-On Bach album by Wendy Carlos , which triggered a craze for synthesizer music.
Pietro Grossi was an Italian pioneer of computer composition and tape music, who first experimented with electronic techniques in the early sixties. Grossi was a cellist and composer, born in Venice in 1917. He founded the S 2F M (Studio de Fonologia Musicale di Firenze) in 1963 in order to experiment with electronic sound and composition.

Computer music

Main article: Computer music

See also: Music-N and Algorithmic composition

CSIRAC , the first computer to play music, did so publicly in August 1951 (reference 12). ^{[ 77 ]} One of the first large-scale public demonstrations of computer music was a pre-recorded national radio broadcast on the NBC radio network program Monitor on February 10, 1962. In 1961, LaFarr Stuart programmed Iowa State University 's CYCLONE computer (a derivative of the Illiac ) to play simple, recognizable tunes through an amplified speaker that had been attached to the system originally for administrative and diagnostic purposes. An interview with Mr. Stuart accompanied his computer music.
The late 1950s, 1960s and 1970s also saw the development of large mainframe computer synthesis. Starting in 1957, Max Mathews of Bell Labs developed the MUSIC programs, culminating in MUSIC V , a direct digital synthesis language ^{[ 78 ]}

Live electronics

Main article: Live electronic music

In America, live electronics were pioneered in the early 1960s by members of Milton Cohen's Space Theater in Ann Arbor, Michigan , including Gordon Mumma and Robert Ashley , by individuals such as David Tudor around 1965, and The Sonic Arts Union, founded in 1966 by Gordon Mumma, Robert Ashley, Alvin Lucier , and David Behrman . ONCE Festivals, featuring multimedia theater music, were organized by Robert Ashley and Gordon Mumma in Ann Arbor between 1958 and 1969. In 1960, John Cage composed Cartridge Music , one of the earliest live-electronic works. ^{[ citation needed ]}
In Europe in 1964, Karlheinz Stockhausen composed Mikrophonie I for tam-tam , hand-held microphones, filters, and potentiometers, and Mixtur for orchestra, four sine-wave generators, and four ring modulators . In 1965 he composed Mikrophonie II for choir, Hammond organ, and ring modulators. ^{[ 79 ]}
The Jazz composers and musicians Paul Bley and Annette Peacock performed some of the first live concerts in the late 1960s using Moog synthesizers. Peacock made regular use of a customised Moog synthesizer to process her voice on stage and in studio recordings. ^{[ citation needed ]}
In 1966–67, Reed Ghazala discovered and began to teach " circuit bending "—the application of the creative short circuit, a process of chance short-circuiting, creating experimental electronic instruments, exploring sonic elements mainly of timbre and with less regard to pitch or rhythm, and influenced by John Cage 's aleatoric music [ sic ] concept. ^{[ 80 ]}

Popularization: 1970s to early 1980s

Synthesizer

See also: Modular synthesizer , Buchla , Electronic Music Studios , and Korg

Released in 1970 by Moog Music the Mini-Moog was among the first widely available, portable and relatively affordable synthesizers. It became the most widely used synthesizer in both popular and electronic art music. ^{[ 81 ]} Patrick Gleeson , playing live with Herbie Hancock in 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. ^{[ 82 ] [ 83 ]}
In 1974 the WDR studio in Cologne acquired an EMS Synthi 100 synthesizer which was used by a number of composers in the production of notable electronic works—amongst others, Rolf Gehlhaar 's Fünf deutsche Tänze (1975), Karlheinz Stockhausen's Sirius (1975–76), and John McGuire 's Pulse Music III (1978). ^{[ 84 ]}
The early 1980s saw the rise of bass synthesizers , the most influential being the Roland TB-303 , a bass synthesizer and sequencer released in late 1981 that would later become synonymous with electronic dance music , ^{[ 85 ]} particularly acid house . ^{[ 86 ]} One of the first to utilize it was Charanjit Singh in 1982, though it wouldn't be popularized until Phuture 's " Acid Tracks " in 1987. ^{[ 86 ]}

IRCAM, STEIM, and Elektronmusikstudion

Main article: IRCAM

IRCAM in Paris became a major center for computer music research and realization and development of the Sogitec 4X computer system, ^{[ 87 ]} featuring then revolutionary real-time digital signal processing. Pierre Boulez 's Répons (1981) for 24 musicians and 6 soloists used the 4X to transform and route soloists to a loudspeaker system.

Main article: STEIM

STEIM is a center for research and development of new musical instruments in the electronic performing arts, located in Amsterdam , Netherlands . STEIM has existed since 1969. It was founded by Misha Mengelberg , Louis Andriessen , Peter Schat , Dick Raaymakers , Jan van Vlijmen , Reinbert de Leeuw , and Konrad Boehmer . 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.

Main article: Elektronmusikstudion

Elektronmusikstudion (EMS), formerly known as Electroacoustic Music in Sweden, is the Swedish national centre for electronic music and sound art . The research organisation started in 1964 and is based in Stockholm .

Rise of popular electronic music

Main articles: Electronic rock , Synthpop , Electro music , and House music

See also: Progressive rock , Berlin School of electronic music , Krautrock , and Space rock

Keith Emerson performing in St. Petersburg in 2008

In the late 1960s, pop and rock musicians , including The Beach Boys and The Beatles , began to use electronic instruments, like the theremin and Mellotron , to supplement and define their sound. By the end of the decade, the Moog synthesizer took a leading place in the sound of emerging progressive rock with bands including Pink Floyd , Yes , Emerson, Lake & Palmer , and Genesis making them part of their sound. Instrumental prog rock was particularly significant in continental Europe, allowing bands like Kraftwerk , Tangerine Dream , Can , and Faust to circumvent the language barrier. ^{[ 88 ]} Their synthesiser-heavy " Kraut rock ", along with the work of Brian Eno (for a time the keyboard player with Roxy Music ), would be a major influence on subsequent synth rock . ^{[ 89 ]} Electronic rock was also produced by several Japanese musicians, including Isao Tomita 's Electric Samurai: Switched on Rock (1972), which featured Moog synthesizer renditions of contemporary pop and rock songs, ^{[ 90 ]} and Osamu Kitajima 's progressive rock album Benzaiten (1974). ^{[ 91 ]} The mid-1970s saw the rise of electronic art music musicians such as Jean Michel Jarre , Vangelis , and Tomita , who with Brian Eno were a significant influence on the development of New Age Music . ^{[ 92 ]}
After the arrival of punk rock , a form of basic synth rock emerged, increasingly using new digital technology to replace other instruments. Pioneering bands included Ultravox with their 1977 single " Hiroshima Mon Amour ", ^{[ 93 ]} Yellow Magic Orchestra from Japan, The Human League and Tubeway Army from the UK, and Devo from the US. ^{[ 94 ]} Yellow Magic Orchestra in particular helped pioneer synthpop with their self-titled album (1978) and Solid State Survivor (1979). ^{[ 95 ]} The definition of MIDI and the development of digital audio made the development of purely electronic sounds much easier. ^{[ 96 ]} These developments led to the growth of synth pop , which after it was adopted by the New Romantic movement, allowed synthesizers to dominate the pop and rock music of the early 80s. Key acts included Duran Duran , Spandau Ballet , A Flock of Seagulls , Culture Club , Talk Talk , Japan and the Eurythmics . Synthpop sometimes used synthesizers to replace all other instruments, ^{[ 97 ]} until the style began to fall from popularity in the mid-1980s. ^{[ 94 ]}

Sequencers and drum machines

Main articles: Music sequencer and Drum machines

This article's factual accuracy is disputed . Faktual keakuratan artikel ini yang diperdebatkan . Please help to ensure that disputed facts are reliably sourced . Harap membantu untuk memastikan bahwa fakta-fakta yang disengketakan yang andal bersumber . See the relevant discussion on the talk page . (December 2011)

Music sequencers began being used around the mid 20th century, and Tomita's albums in mid-1970s being later examples. ^{[ 90 ]} In 1978, Yellow Magic Orchestra were using computer -based technology in conjunction with a synthesiser to produce popular music, ^{[ 98 ]} making their early use of the microprocessor -based Roland MC-8 Microcomposer sequencer. ^{[ 99 ] [ 100 ] [ not in citation given ]}
Drum machines , also known as rhythm machines, also began being used around the late-1950s, with a later example being Osamu Kitajima 's progressive rock album Benzaiten (1974), which used a rhythm machine along with electronic drums and a synthesizer. ^{[ 91 ]} In 1977, Ultravox 's " Hiroshima Mon Amour " was one of the first singles to use the metronome -like percussion of a Roland TR-77 drum machine. ^{[ 93 ]} In 1980, Roland Corporation released the TR-808 , one of the first and most popular programmable drum machines . The first band to use it was Yellow Magic Orchestra in 1980, and it would later gain widespread popularity with the release of Marvin Gaye 's " Sexual Healing " and Afrika Bambaataa 's " Planet Rock " in 1982, after which the TR-808 would remain in continued use until at least 2008. ^{[ 101 ]}

Birth of MIDI

Main article: MIDI

In 1980, a group of musicians and music merchants met to standardize an interface by which new instruments could communicate control instructions with other instruments and the prevalent microcomputer. Pada tahun 1980, sekelompok musisi dan pedagang musik bertemu untuk standarisasi antarmuka dimana instrumen baru bisa berkomunikasi instruksi kontrol dengan instrumen lain dan komputer mikro lazim. This standard was dubbed MIDI ( Musical Instrument Digital Interface ) and resulted from a collaboration between leading manufacturers initially Sequential Circuits , Oberheim , Roland , and later participated groups including: Yamaha , Korg , and Kawai , etc . ^{[ 102 ]} A paper was authored by Dave Smith of Sequential Circuits and proposed to the Audio Engineering Society in 1981. Then, in August 1983, the MIDI Specification 1.0 was finalized. Kemudian, pada bulan Agustus 1983, MIDI 1.0 Spesifikasi diselesaikan.
The advent of MIDI technology allows a single keystroke, control wheel motion, pedal movement, or command from a microcomputer to activate every device in the studio remotely and in synchrony, with each device responding according to conditions predetermined by the composer. Munculnya teknologi MIDI memungkinkan keystroke tunggal, kontrol gerakan roda, gerakan pedal, atau perintah dari komputer mikro untuk mengaktifkan setiap perangkat di studio jarak jauh dan selaras, dengan setiap perangkat menanggapi sesuai dengan kondisi yang telah ditentukan oleh komposer.
MIDI instruments and software made powerful control of sophisticated instruments easily affordable by many studios and individuals. Acoustic sounds became reintegrated into studios via sampling and sampled-ROM-based instruments. Suara akustik menjadi diintegrasikan kembali ke studio melalui pengambilan sampel dan sampel-ROM berbasis instrumen.
Miller Puckette developed graphic signal-processing software for 4X called Max (after Max Mathews ) and later ported it to Macintosh (with Dave Zicarelli extending it for Opcode ) ^{[ 103 ]} for real-time MIDI control, bringing algorithmic composition availability to most composers with modest computer programming background.

Digital sintesis

See also: Digital synthesizer , Sampling (music) , Additive synthesis#Implementations , Bell Labs Digital Synthesizer , and Synclavier

This article's factual accuracy is disputed . Faktual keakuratan artikel ini yang diperdebatkan . Please help to ensure that disputed facts are reliably sourced . Harap membantu untuk memastikan bahwa fakta-fakta yang disengketakan yang andal bersumber . See the relevant discussion on the talk page . (December 2011)

In 1975, the Japanese company Yamaha licensed the algorithms for frequency modulation synthesis (FM synthesis) from John Chowning , who had experimented with it at Stanford University since 1971. ^{[ 104 ] [ 105 ]} 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 frequency modulation . ^{[ 106 ]} However, the first commercial digital synthesizer to be released would be the Australian Fairlight company's Fairlight CMI (Computer Musical Instrument) in 1979, as the first practical polyphonic digital synthesizer/sampler system.
In 1980, Yamaha eventually released the first FM digital synthesizer, the Yamaha GS-1, but at an expensive price. ^{[ 107 ]} In 1983, Yamaha introduced the first stand-alone digital synthesizer, the DX-7 , which also used FM synthesis and would become one of the best-selling synthesizers of all time. ^{[ 104 ]} The DX-7 was known for its recognizable bright tonalities that was partly due to an overachieving sampling rate of 57 kHz. ^{[ 108 ]}
Barry Vercoe describes one of his experiences with early computer sounds:

At IRCAM in Paris in 1982, flutist Larry Beauregard had connected his flute to DiGiugno's 4X audio processor, enabling real-time pitch-following. On a Guggenheim at the time, I extended this concept to real-time score-following with automatic synchronized accompaniment, and over the next two years Larry and I gave numerous demonstrations of the computer as a chamber musician, playing Handel flute sonatas, Boulez 's Sonatine for flute and piano and by 1984 my own Synapse II for flute and computer—the first piece ever composed expressly for such a setup. A major challenge was finding the right software constructs to support highly sensitive and responsive accompaniment. All of this was pre-MIDI, but the results were impressive even though heavy doses of tempo rubato would continually surprise my Synthetic Performer . In 1985 we solved the tempo rubato problem by incorporating learning from rehearsals (each time you played this way the machine would get better). We were also now tracking violin, since our brilliant, young flautist had contracted a fatal cancer. Moreover, this version used a new standard called MIDI, and here I was ably assisted by former student Miller Puckette, whose initial concepts for this task he later expanded into a program called MAX . ^{[ 109 ]}

Chiptunes

Main article: Chiptune Artikel utama: chiptune

See also: Video game music Lihat juga: musik video game

The new availability of low-cost home computers in the 80s and 90s led to the rise of chiptunes . Chiptunes, chipmusic, or chip music is music written in sound formats where many of the sound textures are synthesized or sequenced in real time by a computer or video game console sound chip , sometimes including sample-based synthesis and low bit sample playback. Many chip music devices featured synthesizers in tandem with low rate sample playback. ^{[ citation needed ]} The characteristic lo-fi sound of chip music was initially the result of early sound cards' technical limitations; however, the sound has since become sought after in its own right.

Late 1980s to 1990s

Rise of dance music

Main article: Electronic dance music Artikel utama: musik dansa elektronik

See also: Italo disco , Euro disco , Eurodance , Electro music , Techno , House music , Acid house , Rave music , and Trance music

In the late 1980s, dance music records made using only electronic instruments became increasingly popular. The trend has continued to the present day with modern nightclubs worldwide regularly playing electronic dance music. Nowadays, electronic/dance music is so popular, that dedicated genre radio stations and TV Channels (eg, NRJ Dance, MUSIC FORCE EUROPE) exist.

Advancements

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

Automated Harmonization of Melody in Real Time: An interactive computer system, developed in collaboration with flutist/composer Pedro Eustache , for realtime melodic analysis and harmonic accompaniment. Based on a novel scheme of harmonization devised by Eustache, the software analyzes the tonal melodic function of incoming notes, and instantaneously performs an orchestrated harmonization of the melody. The software was originally designed for performance by Eustache on Yamaha WX7 wind controller, and was used in his composition Tetelestai , premiered in Irvine, California in March 1999. ^{[ 110 ]}

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

2000-an

Qlimax , a large electronic music event that occurs each year in the Netherlands , celebrating the Hardstyle subgenre of electronic music

In recent years, as computer technology has become more accessible and music software has advanced, interacting with music production technology is now possible using means that bear no relationship to traditional musical performance practices: ^{[ 111 ]} for instance, laptop performance ( laptronica ) ^{[ 112 ]} and live coding . ^{[ 113 ]} In general, the term Live PA refers to any live performance of electronic music, whether with laptops, synthesizers, or other devices.
In the last decade, a number of software-based virtual studio environments have emerged, with products such as Propellerhead's Reason and Ableton Live finding popular appeal. ^{[ 114 ]} Such tools provide viable and cost-effective alternatives to typical hardware-based production studios, and thanks to advances in microprocessor technology, it is now possible to create high quality music using little more than a single laptop computer. Such advances have democratized music creation, ^{[ 115 ]} leading to a massive increase in the amount of home-produced electronic music available to the general public via the internet.
Artists can now also individuate their production practice by creating personalized software synthesizers, effects modules, and various composition environments. Devices that once existed exclusively in the hardware domain can easily have virtual counterparts. Some of the more popular software tools for achieving such ends are commercial releases such as Max/Msp and Reaktor and open source packages such as Csound , Pure Data , SuperCollider , and ChucK .

Circuit bending

Probing for "bends" using a jeweler's screwdriver and alligator clips.

Main article: circuit bending Artikel utama: sirkuit bending

See also: #Live electronics

Circuit bending is the creative customization of the circuits within electronic devices such as low voltage , battery-powered guitar effects , children's toys and small digital synthesizers to create new musical or visual instruments and sound generators. Circuit bending adalah kustomisasi kreatif dari sirkuit dalam perangkat elektronik seperti rendah tegangan , baterai bertenaga efek gitar , anak-anak mainan dan digital kecil synthesizer untuk menciptakan alat musik atau visual baru dan generator suara. Emphasizing spontaneity and randomness, the techniques of circuit bending have been commonly associated with noise music , though many more conventional contemporary musicians and musical groups have been known to experiment with "bent" instruments. Circuit bending usually involves dismantling the machine and adding components such as switches and potentiometers that alter the circuit. Circuit bending biasanya melibatkan pembongkaran mesin dan menambahkan komponen seperti switch dan potensiometer yang mengubah sirkuit. With the revived interest for analogue synthesizer circuit bending became a cheap solution for many experimental musicians to create their own individual analogue sound generators. Dengan kembali minat untuk sirkuit analog synthesizer lentur menjadi solusi murah untuk musisi eksperimental banyak untuk membuat generator individu mereka sendiri suara analog. Nowadays many schematics can be found to built noise generators such as the Atari Punk Console or the Dub Siren as well as simple modifications for children toys such as the famous Speak & Spells that are often modified by circuit benders. Saat ini skema banyak dapat ditemukan untuk generator kebisingan dibangun seperti Konsol Punk Atari atau Siren Dub serta modifikasi sederhana untuk mainan anak seperti yang terkenal Bicara & Mantera yang sering dimodifikasi oleh benders sirkuit.