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class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Early_compositions"> <div class="vector-toc-text"> 1.1 Early compositions </div> </a> <ul id="toc-Early_compositions-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Recording_experiments" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Recording_experiments"> <div class="vector-toc-text"> 1.2 Recording experiments </div> </a> <ul id="toc-Recording_experiments-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Development:_1940s_to_1950s" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Development:_1940s_to_1950s"> <div class="vector-toc-text"> 2 Development: 1940s to 1950s </div> </a> <button aria-controls="toc-Development:_1940s_to_1950s-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Development: 1940s to 1950s subsection </button> <ul id="toc-Development:_1940s_to_1950s-sublist" class="vector-toc-list"> <li id="toc-Electroacoustic_tape_music" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Electroacoustic_tape_music"> <div class="vector-toc-text"> 2.1 Electroacoustic tape music </div> </a> <ul id="toc-Electroacoustic_tape_music-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Musique_concrète" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Musique_concrète"> <div class="vector-toc-text"> 2.2 Musique concrète </div> </a> <ul id="toc-Musique_concrète-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Elektronische_Musik,_Germany" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Elektronische_Musik,_Germany"> <div class="vector-toc-text"> 2.3 Elektronische Musik, Germany </div> </a> <ul id="toc-Elektronische_Musik,_Germany-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-United_States" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#United_States"> <div class="vector-toc-text"> 2.4 United States </div> </a> <ul id="toc-United_States-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Columbia-Princeton_Center" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Columbia-Princeton_Center"> <div class="vector-toc-text"> 2.5 Columbia-Princeton Center </div> </a> <ul id="toc-Columbia-Princeton_Center-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-USSR" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#USSR"> <div class="vector-toc-text"> 2.6 USSR </div> </a> <ul id="toc-USSR-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Australia" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Australia"> <div class="vector-toc-text"> 2.7 Australia </div> </a> <ul id="toc-Australia-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Japan" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Japan"> <div class="vector-toc-text"> 2.8 Japan </div> </a> <ul id="toc-Japan-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Mid-to-late_1950s" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Mid-to-late_1950s"> <div class="vector-toc-text"> 2.9 Mid-to-late 1950s </div> </a> <ul id="toc-Mid-to-late_1950s-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Expansion:_1960s" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Expansion:_1960s"> <div class="vector-toc-text"> 3 Expansion: 1960s </div> </a> <button aria-controls="toc-Expansion:_1960s-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Expansion: 1960s subsection </button> <ul id="toc-Expansion:_1960s-sublist" class="vector-toc-list"> <li id="toc-Computer_music" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Computer_music"> <div class="vector-toc-text"> 3.1 Computer music </div> </a> <ul id="toc-Computer_music-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Stochastic_music" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Stochastic_music"> <div class="vector-toc-text"> 3.2 Stochastic music </div> </a> <ul id="toc-Stochastic_music-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Live_electronics" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Live_electronics"> <div class="vector-toc-text"> 3.3 Live electronics </div> </a> <ul id="toc-Live_electronics-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Japanese_instruments" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Japanese_instruments"> <div class="vector-toc-text"> 3.4 Japanese instruments </div> </a> <ul id="toc-Japanese_instruments-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Jamaican_dub_music" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Jamaican_dub_music"> <div class="vector-toc-text"> 3.5 Jamaican dub music </div> </a> <ul id="toc-Jamaican_dub_music-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Late_1960s_to_early_1980s" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Late_1960s_to_early_1980s"> <div class="vector-toc-text"> 4 Late 1960s to early 1980s </div> </a> <button aria-controls="toc-Late_1960s_to_early_1980s-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Late 1960s to early 1980s subsection </button> <ul id="toc-Late_1960s_to_early_1980s-sublist" class="vector-toc-list"> <li id="toc-Rise_of_popular_electronic_music" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Rise_of_popular_electronic_music"> <div class="vector-toc-text"> 4.1 Rise of popular electronic music </div> </a> <ul id="toc-Rise_of_popular_electronic_music-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Proliferation_of_electronic_music_research_institutions" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Proliferation_of_electronic_music_research_institutions"> <div class="vector-toc-text"> 4.2 Proliferation of electronic music research institutions </div> </a> <ul id="toc-Proliferation_of_electronic_music_research_institutions-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Keyboard_synthesizers" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Keyboard_synthesizers"> <div class="vector-toc-text"> 4.3 Keyboard synthesizers </div> </a> <ul id="toc-Keyboard_synthesizers-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Digital_synthesizers" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Digital_synthesizers"> <div class="vector-toc-text"> 4.4 Digital synthesizers </div> </a> <ul id="toc-Digital_synthesizers-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Samplers" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Samplers"> <div class="vector-toc-text"> 4.5 Samplers </div> </a> <ul id="toc-Samplers-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Birth_of_MIDI" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Birth_of_MIDI"> <div class="vector-toc-text"> 4.6 Birth of MIDI </div> </a> <ul id="toc-Birth_of_MIDI-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Sequencers_and_drum_machines" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Sequencers_and_drum_machines"> <div class="vector-toc-text"> 4.7 Sequencers and drum machines </div> </a> <ul id="toc-Sequencers_and_drum_machines-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Chiptunes" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Chiptunes"> <div class="vector-toc-text"> 4.8 Chiptunes </div> </a> <ul id="toc-Chiptunes-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Late_1980s_to_1990s" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Late_1980s_to_1990s"> <div class="vector-toc-text"> 5 Late 1980s to 1990s </div> </a> <button aria-controls="toc-Late_1980s_to_1990s-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Late 1980s to 1990s subsection </button> <ul id="toc-Late_1980s_to_1990s-sublist" class="vector-toc-list"> <li id="toc-Rise_of_dance_music" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Rise_of_dance_music"> <div class="vector-toc-text"> 5.1 Rise of dance music </div> </a> <ul id="toc-Rise_of_dance_music-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Electronica" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Electronica"> <div class="vector-toc-text"> 5.2 Electronica </div> </a> <ul id="toc-Electronica-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Indie_electronic" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Indie_electronic"> <div class="vector-toc-text"> 5.3 Indie electronic </div> </a> <ul id="toc-Indie_electronic-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-2000s_and_2010s" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#2000s_and_2010s"> <div class="vector-toc-text"> 6 2000s and 2010s </div> </a> <button aria-controls="toc-2000s_and_2010s-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle 2000s and 2010s subsection </button> <ul id="toc-2000s_and_2010s-sublist" class="vector-toc-list"> <li id="toc-Circuit_bending" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Circuit_bending"> <div class="vector-toc-text"> 6.1 Circuit bending </div> </a> <ul id="toc-Circuit_bending-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Modular_synth_revival" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Modular_synth_revival"> <div class="vector-toc-text"> 6.2 Modular synth revival </div> </a> <ul id="toc-Modular_synth_revival-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-See_also" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#See_also"> <div class="vector-toc-text"> 7 See also </div> </a> <ul id="toc-See_also-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Footnotes" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Footnotes"> <div class="vector-toc-text"> 8 Footnotes </div> </a> <button aria-controls="toc-Footnotes-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Footnotes subsection </button> <ul id="toc-Footnotes-sublist" class="vector-toc-list"> <li id="toc-Sources" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Sources"> <div class="vector-toc-text"> 8.1 Sources </div> </a> <ul id="toc-Sources-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Further_reading" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Further_reading"> <div class="vector-toc-text"> 9 Further reading </div> </a> <ul id="toc-Further_reading-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> 10 External links </div> </a> <ul id="toc-External_links-sublist" class="vector-toc-list"> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" class="vector-toc-landmark"> <div id="vector-page-titlebar-toc" class="vector-dropdown vector-page-titlebar-toc vector-button-flush-left" > <input type="checkbox" id="vector-page-titlebar-toc-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-vector-page-titlebar-toc" class="vector-dropdown-checkbox " aria-label="Toggle the table of contents" > <label id="vector-page-titlebar-toc-label" for="vector-page-titlebar-toc-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only " aria-hidden="true" > Toggle the table of contents </label> <div class="vector-dropdown-content"> <div id="vector-page-titlebar-toc-unpinned-container" class="vector-unpinned-container"> </div> </div> </div> </nav> <h1 id="firstHeading" class="firstHeading mw-first-heading">Electronic music</h1> <div id="p-lang-btn" class="vector-dropdown mw-portlet mw-portlet-lang" > <input type="checkbox" id="p-lang-btn-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-p-lang-btn" class="vector-dropdown-checkbox mw-interlanguage-selector" aria-label="Go to an article in another language. Available in 93 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-93" aria-hidden="true" > 93 languages </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-af mw-list-item"><a href="https://af.wikipedia.org/wiki/Elektroniese_musiek" title="Elektroniese musiek – Afrikaans" lang="af" hreflang="af" data-title="Elektroniese musiek" data-language-autonym="Afrikaans" data-language-local-name="Afrikaans" class="interlanguage-link-target">Afrikaans</a></li><li class="interlanguage-link interwiki-als mw-list-item"><a href="https://als.wikipedia.org/wiki/Elektronische_Musik" title="Elektronische Musik – Alemannic" lang="gsw" hreflang="gsw" data-title="Elektronische Musik" data-language-autonym="Alemannisch" data-language-local-name="Alemannic" class="interlanguage-link-target">Alemannisch</a></li><li class="interlanguage-link interwiki-ar mw-list-item"><a href="https://ar.wikipedia.org/wiki/%D9%85%D9%88%D8%B3%D9%8A%D9%82%D9%89_%D8%A5%D9%84%D9%83%D8%AA%D8%B1%D9%88%D9%86%D9%8A%D8%A9" title="موسيقى إلكترونية – Arabic" lang="ar" hreflang="ar" data-title="موسيقى إلكترونية" data-language-autonym="العربية" data-language-local-name="Arabic" class="interlanguage-link-target">العربية</a></li><li class="interlanguage-link interwiki-an mw-list-item"><a href="https://an.wikipedia.org/wiki/Musica_electronica" title="Musica electronica – Aragonese" lang="an" hreflang="an" data-title="Musica electronica" data-language-autonym="Aragonés" data-language-local-name="Aragonese" class="interlanguage-link-target">Aragonés</a></li><li class="interlanguage-link interwiki-ast mw-list-item"><a href="https://ast.wikipedia.org/wiki/M%C3%BAsica_electr%C3%B3nica" title="Música electrónica – Asturian" lang="ast" hreflang="ast" data-title="Música electrónica" data-language-autonym="Asturianu" data-language-local-name="Asturian" class="interlanguage-link-target">Asturianu</a></li><li class="interlanguage-link interwiki-az mw-list-item"><a href="https://az.wikipedia.org/wiki/Elektronik_musiqi" title="Elektronik musiqi – Azerbaijani" lang="az" hreflang="az" data-title="Elektronik musiqi" data-language-autonym="Azərbaycanca" data-language-local-name="Azerbaijani" class="interlanguage-link-target">Azərbaycanca</a></li><li class="interlanguage-link interwiki-azb mw-list-item"><a href="https://azb.wikipedia.org/wiki/%D8%A7%D9%84%DA%A9%D8%AA%D8%B1%D9%88%D9%86%DB%8C%DA%A9_%D9%85%D9%88%D8%B3%DB%8C%D9%82%DB%8C" title="الکترونیک موسیقی – South Azerbaijani" lang="azb" hreflang="azb" data-title="الکترونیک موسیقی" data-language-autonym="تۆرکجه" data-language-local-name="South Azerbaijani" class="interlanguage-link-target">تۆرکجه</a></li><li class="interlanguage-link interwiki-bn mw-list-item"><a href="https://bn.wikipedia.org/wiki/%E0%A6%87%E0%A6%B2%E0%A7%87%E0%A6%95%E0%A6%9F%E0%A7%8D%E0%A6%B0%E0%A6%A8%E0%A6%BF%E0%A6%95_%E0%A6%B8%E0%A6%99%E0%A7%8D%E0%A6%97%E0%A7%80%E0%A6%A4" title="ইলেকট্রনিক সঙ্গীত – Bangla" lang="bn" hreflang="bn" data-title="ইলেকট্রনিক সঙ্গীত" data-language-autonym="বাংলা" data-language-local-name="Bangla" class="interlanguage-link-target">বাংলা</a></li><li class="interlanguage-link interwiki-zh-min-nan mw-list-item"><a href="https://zh-min-nan.wikipedia.org/wiki/Ti%C4%81n-ch%C3%BA_im-ga%CC%8Dk" title="Tiān-chú im-ga̍k – Minnan" lang="nan" hreflang="nan" data-title="Tiān-chú im-ga̍k" data-language-autonym="閩南語 / Bân-lâm-gú" data-language-local-name="Minnan" class="interlanguage-link-target">閩南語 / Bân-lâm-gú</a></li><li class="interlanguage-link interwiki-ba mw-list-item"><a href="https://ba.wikipedia.org/wiki/%D0%AD%D0%BB%D0%B5%D0%BA%D1%82%D1%80%D0%BE%D0%BD_%D0%BC%D1%83%D0%B7%D1%8B%D0%BA%D0%B0" title="Электрон музыка – Bashkir" lang="ba" hreflang="ba" data-title="Электрон музыка" data-language-autonym="Башҡортса" data-language-local-name="Bashkir" class="interlanguage-link-target">Башҡортса</a></li><li class="interlanguage-link interwiki-be mw-list-item"><a href="https://be.wikipedia.org/wiki/%D0%AD%D0%BB%D0%B5%D0%BA%D1%82%D1%80%D0%BE%D0%BD%D0%BD%D0%B0%D1%8F_%D0%BC%D1%83%D0%B7%D1%8B%D0%BA%D0%B0" title="Электронная музыка – Belarusian" lang="be" hreflang="be" data-title="Электронная музыка" data-language-autonym="Беларуская" data-language-local-name="Belarusian" class="interlanguage-link-target">Беларуская</a></li><li class="interlanguage-link interwiki-be-x-old mw-list-item"><a href="https://be-tarask.wikipedia.org/wiki/%D0%AD%D0%BB%D0%B5%D0%BA%D1%82%D1%80%D0%BE%D0%BD%D0%BD%D0%B0%D1%8F_%D0%BC%D1%83%D0%B7%D1%8B%D0%BA%D0%B0" title="Электронная музыка – Belarusian (Taraškievica orthography)" lang="be-tarask" hreflang="be-tarask" data-title="Электронная музыка" data-language-autonym="Беларуская (тарашкевіца)" data-language-local-name="Belarusian (Taraškievica orthography)" class="interlanguage-link-target">Беларуская (тарашкевіца)</a></li><li class="interlanguage-link interwiki-bg mw-list-item"><a href="https://bg.wikipedia.org/wiki/%D0%95%D0%BB%D0%B5%D0%BA%D1%82%D1%80%D0%BE%D0%BD%D0%BD%D0%B0_%D0%BC%D1%83%D0%B7%D0%B8%D0%BA%D0%B0" title="Електронна музика – Bulgarian" lang="bg" hreflang="bg" data-title="Електронна музика" data-language-autonym="Български" data-language-local-name="Bulgarian" class="interlanguage-link-target">Български</a></li><li class="interlanguage-link interwiki-bs mw-list-item"><a href="https://bs.wikipedia.org/wiki/Elektronska_muzika" title="Elektronska muzika – Bosnian" lang="bs" hreflang="bs" data-title="Elektronska muzika" data-language-autonym="Bosanski" data-language-local-name="Bosnian" class="interlanguage-link-target">Bosanski</a></li><li class="interlanguage-link interwiki-br mw-list-item"><a href="https://br.wikipedia.org/wiki/Sonerezh_elektronek" title="Sonerezh elektronek – Breton" lang="br" hreflang="br" data-title="Sonerezh elektronek" data-language-autonym="Brezhoneg" data-language-local-name="Breton" class="interlanguage-link-target">Brezhoneg</a></li><li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/M%C3%BAsica_electr%C3%B2nica" title="Música electrònica – Catalan" lang="ca" hreflang="ca" data-title="Música electrònica" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target">Català</a></li><li class="interlanguage-link interwiki-cs mw-list-item"><a href="https://cs.wikipedia.org/wiki/Elektronick%C3%A1_hudba" title="Elektronická hudba – Czech" lang="cs" hreflang="cs" data-title="Elektronická hudba" data-language-autonym="Čeština" data-language-local-name="Czech" class="interlanguage-link-target">Čeština</a></li><li class="interlanguage-link interwiki-cy mw-list-item"><a href="https://cy.wikipedia.org/wiki/Cerddoriaeth_electronig" title="Cerddoriaeth electronig – Welsh" lang="cy" hreflang="cy" data-title="Cerddoriaeth electronig" data-language-autonym="Cymraeg" data-language-local-name="Welsh" class="interlanguage-link-target">Cymraeg</a></li><li class="interlanguage-link interwiki-da mw-list-item"><a href="https://da.wikipedia.org/wiki/Elektronisk_musik" title="Elektronisk musik – Danish" lang="da" hreflang="da" data-title="Elektronisk musik" data-language-autonym="Dansk" data-language-local-name="Danish" class="interlanguage-link-target">Dansk</a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Elektronische_Musik" title="Elektronische Musik – German" lang="de" hreflang="de" data-title="Elektronische Musik" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target">Deutsch</a></li><li class="interlanguage-link interwiki-et mw-list-item"><a href="https://et.wikipedia.org/wiki/Elektronmuusika" title="Elektronmuusika – Estonian" lang="et" hreflang="et" data-title="Elektronmuusika" data-language-autonym="Eesti" data-language-local-name="Estonian" class="interlanguage-link-target">Eesti</a></li><li class="interlanguage-link interwiki-el mw-list-item"><a href="https://el.wikipedia.org/wiki/%CE%97%CE%BB%CE%B5%CE%BA%CF%84%CF%81%CE%BF%CE%BD%CE%B9%CE%BA%CE%AE_%CE%BC%CE%BF%CF%85%CF%83%CE%B9%CE%BA%CE%AE" title="Ηλεκτρονική μουσική – Greek" lang="el" hreflang="el" data-title="Ηλεκτρονική μουσική" data-language-autonym="Ελληνικά" data-language-local-name="Greek" class="interlanguage-link-target">Ελληνικά</a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/M%C3%BAsica_electr%C3%B3nica" title="Música electrónica – Spanish" lang="es" hreflang="es" data-title="Música electrónica" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target">Español</a></li><li class="interlanguage-link interwiki-eo mw-list-item"><a href="https://eo.wikipedia.org/wiki/Elektronika_muziko" title="Elektronika muziko – Esperanto" lang="eo" hreflang="eo" data-title="Elektronika muziko" data-language-autonym="Esperanto" data-language-local-name="Esperanto" class="interlanguage-link-target">Esperanto</a></li><li class="interlanguage-link interwiki-eu mw-list-item"><a href="https://eu.wikipedia.org/wiki/Musika_elektroniko" title="Musika elektroniko – Basque" lang="eu" hreflang="eu" data-title="Musika elektroniko" data-language-autonym="Euskara" data-language-local-name="Basque" class="interlanguage-link-target">Euskara</a></li><li class="interlanguage-link interwiki-fa mw-list-item"><a href="https://fa.wikipedia.org/wiki/%D9%85%D9%88%D8%B3%DB%8C%D9%82%DB%8C_%D8%A7%D9%84%DA%A9%D8%AA%D8%B1%D9%88%D9%86%DB%8C%DA%A9" title="موسیقی الکترونیک – Persian" lang="fa" hreflang="fa" data-title="موسیقی الکترونیک" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target">فارسی</a></li><li class="interlanguage-link interwiki-hif mw-list-item"><a href="https://hif.wikipedia.org/wiki/Electronic_music" title="Electronic music – Fiji Hindi" lang="hif" hreflang="hif" data-title="Electronic music" data-language-autonym="Fiji Hindi" data-language-local-name="Fiji Hindi" class="interlanguage-link-target">Fiji Hindi</a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Musique_%C3%A9lectronique" title="Musique électronique – French" lang="fr" hreflang="fr" data-title="Musique électronique" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target">Français</a></li><li class="interlanguage-link interwiki-ga mw-list-item"><a href="https://ga.wikipedia.org/wiki/Ceol_leictreonach" title="Ceol leictreonach – Irish" lang="ga" hreflang="ga" data-title="Ceol leictreonach" data-language-autonym="Gaeilge" data-language-local-name="Irish" class="interlanguage-link-target">Gaeilge</a></li><li class="interlanguage-link interwiki-gl mw-list-item"><a href="https://gl.wikipedia.org/wiki/M%C3%BAsica_electr%C3%B3nica" title="Música electrónica – Galician" lang="gl" hreflang="gl" data-title="Música electrónica" data-language-autonym="Galego" data-language-local-name="Galician" class="interlanguage-link-target">Galego</a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%EC%A0%84%EC%9E%90_%EC%9D%8C%EC%95%85" title="전자 음악 – Korean" lang="ko" hreflang="ko" data-title="전자 음악" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target">한국어</a></li><li class="interlanguage-link interwiki-hy mw-list-item"><a href="https://hy.wikipedia.org/wiki/%D4%B7%D5%AC%D5%A5%D5%AF%D5%BF%D6%80%D5%B8%D5%B6%D5%A1%D5%B5%D5%AB%D5%B6_%D5%A5%D6%80%D5%A1%D5%AA%D5%B7%D5%BF%D5%B8%D6%82%D5%A9%D5%B5%D5%B8%D6%82%D5%B6" title="Էլեկտրոնային երաժշտություն – Armenian" lang="hy" hreflang="hy" data-title="Էլեկտրոնային երաժշտություն" data-language-autonym="Հայերեն" data-language-local-name="Armenian" class="interlanguage-link-target">Հայերեն</a></li><li class="interlanguage-link interwiki-hr mw-list-item"><a href="https://hr.wikipedia.org/wiki/Elektroni%C4%8Dka_glazba" title="Elektronička glazba – Croatian" lang="hr" hreflang="hr" data-title="Elektronička glazba" data-language-autonym="Hrvatski" data-language-local-name="Croatian" class="interlanguage-link-target">Hrvatski</a></li><li class="interlanguage-link interwiki-id mw-list-item"><a href="https://id.wikipedia.org/wiki/Musik_elektronik" title="Musik elektronik – Indonesian" lang="id" hreflang="id" data-title="Musik elektronik" data-language-autonym="Bahasa Indonesia" data-language-local-name="Indonesian" class="interlanguage-link-target">Bahasa Indonesia</a></li><li class="interlanguage-link interwiki-zu mw-list-item"><a href="https://zu.wikipedia.org/wiki/Umculo_Wohlobo_Lwe-Eletronic" title="Umculo Wohlobo Lwe-Eletronic – Zulu" lang="zu" hreflang="zu" data-title="Umculo Wohlobo Lwe-Eletronic" data-language-autonym="IsiZulu" data-language-local-name="Zulu" class="interlanguage-link-target">IsiZulu</a></li><li class="interlanguage-link interwiki-is mw-list-item"><a href="https://is.wikipedia.org/wiki/Raft%C3%B3nlist" title="Raftónlist – Icelandic" lang="is" hreflang="is" data-title="Raftónlist" data-language-autonym="Íslenska" data-language-local-name="Icelandic" class="interlanguage-link-target">Íslenska</a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Musica_elettronica" title="Musica elettronica – Italian" lang="it" hreflang="it" data-title="Musica elettronica" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target">Italiano</a></li><li class="interlanguage-link interwiki-he mw-list-item"><a href="https://he.wikipedia.org/wiki/%D7%9E%D7%95%D7%96%D7%99%D7%A7%D7%94_%D7%90%D7%9C%D7%A7%D7%98%D7%A8%D7%95%D7%A0%D7%99%D7%AA" title="מוזיקה אלקטרונית – Hebrew" lang="he" hreflang="he" data-title="מוזיקה אלקטרונית" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target">עברית</a></li><li class="interlanguage-link interwiki-ka mw-list-item"><a href="https://ka.wikipedia.org/wiki/%E1%83%94%E1%83%9A%E1%83%94%E1%83%A5%E1%83%A2%E1%83%A0%E1%83%9D%E1%83%9C%E1%83%A3%E1%83%9A%E1%83%98_%E1%83%9B%E1%83%A3%E1%83%A1%E1%83%98%E1%83%99%E1%83%90" title="ელექტრონული მუსიკა – Georgian" lang="ka" hreflang="ka" data-title="ელექტრონული მუსიკა" data-language-autonym="ქართული" data-language-local-name="Georgian" class="interlanguage-link-target">ქართული</a></li><li class="interlanguage-link interwiki-kk mw-list-item"><a href="https://kk.wikipedia.org/wiki/%D0%AD%D0%BB%D0%B5%D0%BA%D1%82%D1%80%D0%BE%D0%BD%D0%B4%D1%8B%D2%9B_%D0%BC%D1%83%D0%B7%D1%8B%D0%BA%D0%B0" title="Электрондық музыка – Kazakh" lang="kk" hreflang="kk" data-title="Электрондық музыка" data-language-autonym="Қазақша" data-language-local-name="Kazakh" class="interlanguage-link-target">Қазақша</a></li><li class="interlanguage-link interwiki-sw mw-list-item"><a href="https://sw.wikipedia.org/wiki/Muziki_wa_kielektroniki" title="Muziki wa kielektroniki – Swahili" lang="sw" hreflang="sw" data-title="Muziki wa kielektroniki" data-language-autonym="Kiswahili" data-language-local-name="Swahili" class="interlanguage-link-target">Kiswahili</a></li><li class="interlanguage-link interwiki-ky mw-list-item"><a href="https://ky.wikipedia.org/wiki/%D0%AD%D0%BB%D0%B5%D0%BA%D1%82%D1%80%D0%BE%D0%BD%D0%B4%D1%83%D0%BA_%D0%BC%D1%83%D0%B7%D1%8B%D0%BA%D0%B0" title="Электрондук музыка – Kyrgyz" lang="ky" hreflang="ky" data-title="Электрондук музыка" data-language-autonym="Кыргызча" data-language-local-name="Kyrgyz" class="interlanguage-link-target">Кыргызча</a></li><li class="interlanguage-link interwiki-la mw-list-item"><a href="https://la.wikipedia.org/wiki/Musica_electronica" title="Musica electronica – Latin" lang="la" hreflang="la" data-title="Musica electronica" data-language-autonym="Latina" data-language-local-name="Latin" class="interlanguage-link-target">Latina</a></li><li class="interlanguage-link interwiki-lv mw-list-item"><a href="https://lv.wikipedia.org/wiki/Elektronisk%C4%81_m%C5%ABzika" title="Elektroniskā mūzika – Latvian" lang="lv" hreflang="lv" data-title="Elektroniskā mūzika" data-language-autonym="Latviešu" data-language-local-name="Latvian" class="interlanguage-link-target">Latviešu</a></li><li class="interlanguage-link interwiki-lt mw-list-item"><a href="https://lt.wikipedia.org/wiki/Elektronin%C4%97_muzika" title="Elektroninė muzika – Lithuanian" lang="lt" hreflang="lt" data-title="Elektroninė muzika" data-language-autonym="Lietuvių" data-language-local-name="Lithuanian" class="interlanguage-link-target">Lietuvių</a></li><li class="interlanguage-link interwiki-li mw-list-item"><a href="https://li.wikipedia.org/wiki/Elektronische_meziek" title="Elektronische meziek – Limburgish" lang="li" hreflang="li" data-title="Elektronische meziek" data-language-autonym="Limburgs" data-language-local-name="Limburgish" class="interlanguage-link-target">Limburgs</a></li><li class="interlanguage-link interwiki-lmo mw-list-item"><a href="https://lmo.wikipedia.org/wiki/M%C3%BCsega_eletroniga" title="Müsega eletroniga – Lombard" lang="lmo" hreflang="lmo" data-title="Müsega eletroniga" data-language-autonym="Lombard" data-language-local-name="Lombard" class="interlanguage-link-target">Lombard</a></li><li class="interlanguage-link interwiki-hu mw-list-item"><a href="https://hu.wikipedia.org/wiki/Elektronikus_zene" title="Elektronikus zene – Hungarian" lang="hu" hreflang="hu" data-title="Elektronikus zene" data-language-autonym="Magyar" data-language-local-name="Hungarian" class="interlanguage-link-target">Magyar</a></li><li class="interlanguage-link interwiki-mk mw-list-item"><a href="https://mk.wikipedia.org/wiki/%D0%95%D0%BB%D0%B5%D0%BA%D1%82%D1%80%D0%BE%D0%BD%D1%81%D0%BA%D0%B0_%D0%BC%D1%83%D0%B7%D0%B8%D0%BA%D0%B0" title="Електронска музика – Macedonian" lang="mk" hreflang="mk" data-title="Електронска музика" data-language-autonym="Македонски" data-language-local-name="Macedonian" class="interlanguage-link-target">Македонски</a></li><li class="interlanguage-link interwiki-ml mw-list-item"><a href="https://ml.wikipedia.org/wiki/%E0%B4%87%E0%B4%B2%E0%B4%95%E0%B5%8D%E0%B4%9F%E0%B5%8D%E0%B4%B0%E0%B5%8B%E0%B4%A3%E0%B4%BF%E0%B4%95%E0%B5%8D_%E0%B4%B8%E0%B4%82%E0%B4%97%E0%B5%80%E0%B4%A4%E0%B4%82" title="ഇലക്ട്രോണിക് സംഗീതം – Malayalam" lang="ml" hreflang="ml" data-title="ഇലക്ട്രോണിക് സംഗീതം" data-language-autonym="മലയാളം" data-language-local-name="Malayalam" class="interlanguage-link-target">മലയാളം</a></li><li class="interlanguage-link interwiki-arz mw-list-item"><a href="https://arz.wikipedia.org/wiki/%D9%85%D8%B2%D9%8A%D9%83%D8%A7_%D8%A7%D9%84%D9%83%D8%AA%D8%B1%D9%88%D9%86%D9%8A%D9%87" title="مزيكا الكترونيه – Egyptian Arabic" lang="arz" hreflang="arz" data-title="مزيكا الكترونيه" data-language-autonym="مصرى" data-language-local-name="Egyptian Arabic" class="interlanguage-link-target">مصرى</a></li><li class="interlanguage-link interwiki-ms mw-list-item"><a href="https://ms.wikipedia.org/wiki/Muzik_elektronik" title="Muzik elektronik – Malay" lang="ms" hreflang="ms" data-title="Muzik elektronik" data-language-autonym="Bahasa Melayu" data-language-local-name="Malay" class="interlanguage-link-target">Bahasa Melayu</a></li><li class="interlanguage-link interwiki-my mw-list-item"><a href="https://my.wikipedia.org/wiki/%E1%80%A1%E1%80%AE%E1%80%9C%E1%80%80%E1%80%BA%E1%80%91%E1%80%9B%E1%80%BD%E1%80%94%E1%80%BA%E1%80%B8%E1%80%94%E1%80%85%E1%80%BA_%E1%80%82%E1%80%AE%E1%80%90" title="အီလက်ထရွန်းနစ် ဂီတ – Burmese" lang="my" hreflang="my" data-title="အီလက်ထရွန်းနစ် ဂီတ" data-language-autonym="မြန်မာဘာသာ" data-language-local-name="Burmese" class="interlanguage-link-target">မြန်မာဘာသာ</a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/Elektronische_muziek" title="Elektronische muziek – Dutch" lang="nl" hreflang="nl" data-title="Elektronische muziek" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target">Nederlands</a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E9%9B%BB%E5%AD%90%E9%9F%B3%E6%A5%BD" title="電子音楽 – Japanese" lang="ja" hreflang="ja" data-title="電子音楽" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target">日本語</a></li><li class="interlanguage-link interwiki-no mw-list-item"><a href="https://no.wikipedia.org/wiki/Elektronisk_musikk" title="Elektronisk musikk – Norwegian Bokmål" lang="nb" hreflang="nb" data-title="Elektronisk musikk" data-language-autonym="Norsk bokmål" data-language-local-name="Norwegian Bokmål" class="interlanguage-link-target">Norsk bokmål</a></li><li class="interlanguage-link interwiki-nn mw-list-item"><a href="https://nn.wikipedia.org/wiki/Elektronisk_musikk" title="Elektronisk musikk – Norwegian Nynorsk" lang="nn" hreflang="nn" data-title="Elektronisk musikk" data-language-autonym="Norsk nynorsk" data-language-local-name="Norwegian Nynorsk" class="interlanguage-link-target">Norsk nynorsk</a></li><li class="interlanguage-link interwiki-oc mw-list-item"><a href="https://oc.wikipedia.org/wiki/Musica_electronica" title="Musica electronica – Occitan" lang="oc" hreflang="oc" data-title="Musica electronica" data-language-autonym="Occitan" data-language-local-name="Occitan" class="interlanguage-link-target">Occitan</a></li><li class="interlanguage-link interwiki-uz mw-list-item"><a href="https://uz.wikipedia.org/wiki/Elektron_musiqa" title="Elektron musiqa – Uzbek" lang="uz" hreflang="uz" data-title="Elektron musiqa" data-language-autonym="Oʻzbekcha / ўзбекча" data-language-local-name="Uzbek" class="interlanguage-link-target">Oʻzbekcha / ўзбекча</a></li><li class="interlanguage-link interwiki-pa mw-list-item"><a href="https://pa.wikipedia.org/wiki/%E0%A8%87%E0%A8%B2%E0%A9%88%E0%A8%95%E0%A8%9F%E0%A9%8D%E0%A8%B0%E0%A8%BE%E0%A8%A8%E0%A8%BF%E0%A8%95_%E0%A8%B8%E0%A9%B0%E0%A8%97%E0%A9%80%E0%A8%A4" title="ਇਲੈਕਟ੍ਰਾਨਿਕ ਸੰਗੀਤ – Punjabi" lang="pa" hreflang="pa" data-title="ਇਲੈਕਟ੍ਰਾਨਿਕ ਸੰਗੀਤ" data-language-autonym="ਪੰਜਾਬੀ" data-language-local-name="Punjabi" class="interlanguage-link-target">ਪੰਜਾਬੀ</a></li><li class="interlanguage-link interwiki-pnb mw-list-item"><a href="https://pnb.wikipedia.org/wiki/%D8%A7%D9%84%DB%8C%DA%A9%D9%B9%D8%B1%D9%88%D9%86%DA%A9_%D9%85%D9%88%D8%B3%DB%8C%D9%82%DB%8C" title="الیکٹرونک موسیقی – Western Punjabi" lang="pnb" hreflang="pnb" data-title="الیکٹرونک موسیقی" data-language-autonym="پنجابی" data-language-local-name="Western Punjabi" class="interlanguage-link-target">پنجابی</a></li><li class="interlanguage-link interwiki-nds mw-list-item"><a href="https://nds.wikipedia.org/wiki/Elektroonsche_Musik" title="Elektroonsche Musik – Low German" lang="nds" hreflang="nds" data-title="Elektroonsche Musik" data-language-autonym="Plattdüütsch" data-language-local-name="Low German" class="interlanguage-link-target">Plattdüütsch</a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Muzyka_elektroniczna" title="Muzyka elektroniczna – Polish" lang="pl" hreflang="pl" data-title="Muzyka elektroniczna" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target">Polski</a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/M%C3%BAsica_eletr%C3%B4nica" title="Música eletrônica – Portuguese" lang="pt" hreflang="pt" data-title="Música eletrônica" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target">Português</a></li><li class="interlanguage-link interwiki-crh mw-list-item"><a href="https://crh.wikipedia.org/wiki/Elektron_musiqiysi" title="Elektron musiqiysi – Crimean Tatar" lang="crh" hreflang="crh" data-title="Elektron musiqiysi" data-language-autonym="Qırımtatarca" data-language-local-name="Crimean Tatar" class="interlanguage-link-target">Qırımtatarca</a></li><li class="interlanguage-link interwiki-ro mw-list-item"><a href="https://ro.wikipedia.org/wiki/Muzic%C4%83_electronic%C4%83" title="Muzică electronică – Romanian" lang="ro" hreflang="ro" data-title="Muzică electronică" data-language-autonym="Română" data-language-local-name="Romanian" class="interlanguage-link-target">Română</a></li><li class="interlanguage-link interwiki-rue mw-list-item"><a href="https://rue.wikipedia.org/wiki/%D0%95%D0%BB%D0%B5%D0%BA%D1%82%D1%80%D0%BE%D0%BD%D1%96%D1%87%D0%BD%D0%B0_%D0%BC%D1%83%D0%B7%D0%B8%D0%BA%D0%B0" title="Електронічна музика – Rusyn" lang="rue" hreflang="rue" data-title="Електронічна музика" data-language-autonym="Русиньскый" data-language-local-name="Rusyn" class="interlanguage-link-target">Русиньскый</a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%AD%D0%BB%D0%B5%D0%BA%D1%82%D1%80%D0%BE%D0%BD%D0%BD%D0%B0%D1%8F_%D0%BC%D1%83%D0%B7%D1%8B%D0%BA%D0%B0" title="Электронная музыка – Russian" lang="ru" hreflang="ru" data-title="Электронная музыка" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target">Русский</a></li><li class="interlanguage-link interwiki-sco mw-list-item"><a href="https://sco.wikipedia.org/wiki/Electronic_muisic" title="Electronic muisic – Scots" lang="sco" hreflang="sco" data-title="Electronic muisic" data-language-autonym="Scots" data-language-local-name="Scots" class="interlanguage-link-target">Scots</a></li><li class="interlanguage-link interwiki-sq mw-list-item"><a href="https://sq.wikipedia.org/wiki/Muzika_elektronike" title="Muzika elektronike – Albanian" lang="sq" hreflang="sq" data-title="Muzika elektronike" data-language-autonym="Shqip" data-language-local-name="Albanian" class="interlanguage-link-target">Shqip</a></li><li class="interlanguage-link interwiki-scn mw-list-item"><a href="https://scn.wikipedia.org/wiki/M%C3%B9sica_alittr%C3%B2nica" title="Mùsica alittrònica – Sicilian" lang="scn" hreflang="scn" data-title="Mùsica alittrònica" data-language-autonym="Sicilianu" data-language-local-name="Sicilian" class="interlanguage-link-target">Sicilianu</a></li><li class="interlanguage-link interwiki-simple mw-list-item"><a href="https://simple.wikipedia.org/wiki/Electronic_music" title="Electronic music – Simple English" lang="en-simple" hreflang="en-simple" data-title="Electronic music" data-language-autonym="Simple English" data-language-local-name="Simple English" class="interlanguage-link-target">Simple English</a></li><li class="interlanguage-link interwiki-sk mw-list-item"><a href="https://sk.wikipedia.org/wiki/Elektronick%C3%A1_hudba_(elektronick%C3%A9_n%C3%A1stroje)" title="Elektronická hudba (elektronické nástroje) – Slovak" lang="sk" hreflang="sk" data-title="Elektronická hudba (elektronické nástroje)" data-language-autonym="Slovenčina" data-language-local-name="Slovak" class="interlanguage-link-target">Slovenčina</a></li><li class="interlanguage-link interwiki-sl mw-list-item"><a href="https://sl.wikipedia.org/wiki/Elektronska_glasba" title="Elektronska glasba – Slovenian" lang="sl" hreflang="sl" data-title="Elektronska glasba" data-language-autonym="Slovenščina" data-language-local-name="Slovenian" class="interlanguage-link-target">Slovenščina</a></li><li class="interlanguage-link interwiki-szl mw-list-item"><a href="https://szl.wikipedia.org/wiki/Elektr%C5%AF%C5%84iczno_muzyka" title="Elektrůńiczno muzyka – Silesian" lang="szl" hreflang="szl" data-title="Elektrůńiczno muzyka" data-language-autonym="Ślůnski" data-language-local-name="Silesian" class="interlanguage-link-target">Ślůnski</a></li><li class="interlanguage-link interwiki-ckb mw-list-item"><a href="https://ckb.wikipedia.org/wiki/%D9%85%DB%86%D8%B3%DB%8C%D9%82%D8%A7%DB%8C_%D8%A6%DB%95%D9%84%DB%8C%DA%A9%D8%AA%D8%B1%DB%86%D9%86%DB%8C%DA%A9" title="مۆسیقای ئەلیکترۆنیک – Central Kurdish" lang="ckb" hreflang="ckb" data-title="مۆسیقای ئەلیکترۆنیک" data-language-autonym="کوردی" data-language-local-name="Central Kurdish" class="interlanguage-link-target">کوردی</a></li><li class="interlanguage-link interwiki-sr mw-list-item"><a href="https://sr.wikipedia.org/wiki/%D0%95%D0%BB%D0%B5%D0%BA%D1%82%D1%80%D0%BE%D0%BD%D1%81%D0%BA%D0%B0_%D0%BC%D1%83%D0%B7%D0%B8%D0%BA%D0%B0" title="Електронска музика – Serbian" lang="sr" hreflang="sr" data-title="Електронска музика" data-language-autonym="Српски / srpski" data-language-local-name="Serbian" class="interlanguage-link-target">Српски / srpski</a></li><li class="interlanguage-link interwiki-sh mw-list-item"><a href="https://sh.wikipedia.org/wiki/Elektronska_muzika" title="Elektronska muzika – Serbo-Croatian" lang="sh" hreflang="sh" data-title="Elektronska muzika" data-language-autonym="Srpskohrvatski / српскохрватски" data-language-local-name="Serbo-Croatian" class="interlanguage-link-target">Srpskohrvatski / српскохрватски</a></li><li class="interlanguage-link interwiki-fi mw-list-item"><a href="https://fi.wikipedia.org/wiki/Elektroninen_musiikki" title="Elektroninen musiikki – Finnish" lang="fi" hreflang="fi" data-title="Elektroninen musiikki" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target">Suomi</a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Elektronisk_musik" title="Elektronisk musik – Swedish" lang="sv" hreflang="sv" data-title="Elektronisk musik" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target">Svenska</a></li><li class="interlanguage-link interwiki-ta mw-list-item"><a href="https://ta.wikipedia.org/wiki/%E0%AE%AE%E0%AE%BF%E0%AE%A9%E0%AF%8D%E0%AE%A9%E0%AE%A3%E0%AF%81_%E0%AE%87%E0%AE%9A%E0%AF%88" title="மின்னணு இசை – Tamil" lang="ta" hreflang="ta" data-title="மின்னணு இசை" data-language-autonym="தமிழ்" data-language-local-name="Tamil" class="interlanguage-link-target">தமிழ்</a></li><li class="interlanguage-link interwiki-th mw-list-item"><a href="https://th.wikipedia.org/wiki/%E0%B8%94%E0%B8%99%E0%B8%95%E0%B8%A3%E0%B8%B5%E0%B8%AD%E0%B8%B4%E0%B9%80%E0%B8%A5%E0%B9%87%E0%B8%81%E0%B8%97%E0%B8%A3%E0%B8%AD%E0%B8%99%E0%B8%B4%E0%B8%81%E0%B8%AA%E0%B9%8C" title="ดนตรีอิเล็กทรอนิกส์ – Thai" lang="th" hreflang="th" data-title="ดนตรีอิเล็กทรอนิกส์" data-language-autonym="ไทย" data-language-local-name="Thai" class="interlanguage-link-target">ไทย</a></li><li class="interlanguage-link interwiki-tg mw-list-item"><a href="https://tg.wikipedia.org/wiki/%D0%9C%D1%83%D1%81%D0%B8%D2%9B%D0%B8%D0%B8_%D1%8D%D0%BB%D0%B5%D0%BA%D1%82%D1%80%D0%BE%D0%BD%D3%A3" title="Мусиқии электронӣ – Tajik" lang="tg" hreflang="tg" data-title="Мусиқии электронӣ" data-language-autonym="Тоҷикӣ" data-language-local-name="Tajik" class="interlanguage-link-target">Тоҷикӣ</a></li><li class="interlanguage-link interwiki-tr mw-list-item"><a href="https://tr.wikipedia.org/wiki/Elektronik_m%C3%BCzik" title="Elektronik müzik – Turkish" lang="tr" hreflang="tr" data-title="Elektronik müzik" data-language-autonym="Türkçe" data-language-local-name="Turkish" class="interlanguage-link-target">Türkçe</a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a href="https://uk.wikipedia.org/wiki/%D0%95%D0%BB%D0%B5%D0%BA%D1%82%D1%80%D0%BE%D0%BD%D0%BD%D0%B0_%D0%BC%D1%83%D0%B7%D0%B8%D0%BA%D0%B0" title="Електронна музика – Ukrainian" lang="uk" hreflang="uk" data-title="Електронна музика" data-language-autonym="Українська" data-language-local-name="Ukrainian" class="interlanguage-link-target">Українська</a></li><li class="interlanguage-link interwiki-ur mw-list-item"><a href="https://ur.wikipedia.org/wiki/%D8%A8%D8%B1%D9%82%DB%8C%D8%A7%D8%AA%DB%8C_%D9%85%D9%88%D8%B3%DB%8C%D9%82%DB%8C" title="برقیاتی موسیقی – Urdu" lang="ur" hreflang="ur" data-title="برقیاتی موسیقی" data-language-autonym="اردو" data-language-local-name="Urdu" class="interlanguage-link-target">اردو</a></li><li class="interlanguage-link interwiki-vi mw-list-item"><a href="https://vi.wikipedia.org/wiki/Nh%E1%BA%A1c_%C4%91i%E1%BB%87n_t%E1%BB%AD" title="Nhạc điện tử – Vietnamese" lang="vi" hreflang="vi" data-title="Nhạc điện tử" data-language-autonym="Tiếng Việt" data-language-local-name="Vietnamese" class="interlanguage-link-target">Tiếng Việt</a></li><li class="interlanguage-link interwiki-war mw-list-item"><a href="https://war.wikipedia.org/wiki/Musika_elektronika" title="Musika elektronika – Waray" lang="war" hreflang="war" 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searchaux" style="display:none">Music genre that uses electronic instruments</div> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">For other uses, see <a href="/wiki/Electronic_music_(disambiguation)" class="mw-disambig" title="Electronic music (disambiguation)">Electronic music (disambiguation)</a>. "Electronic musician" redirects here. For the magazine, see <a href="/wiki/Electronic_Musician" title="Electronic Musician">Electronic Musician</a>.</div> <style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl dl,.mw-parser-output .hlist dl ol,.mw-parser-output .hlist dl ul,.mw-parser-output .hlist ol dl,.mw-parser-output .hlist ol ol,.mw-parser-output .hlist ol ul,.mw-parser-output .hlist ul dl,.mw-parser-output .hlist ul ol,.mw-parser-output .hlist ul ul{display:inline}.mw-parser-output .hlist .mw-empty-li{display:none}.mw-parser-output .hlist dt::after{content:": "}.mw-parser-output .hlist dd::after,.mw-parser-output .hlist li::after{content:" · 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.infobox-full-data:not(.notheme)>div:not(.notheme)[style]{background:#1f1f23!important;color:#f8f9fa}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .infobox-full-data:not(.notheme) div:not(.notheme){background:#1f1f23!important;color:#f8f9fa}}@media(min-width:640px){body.skin--responsive .mw-parser-output .infobox-table{display:table!important}body.skin--responsive .mw-parser-output .infobox-table>caption{display:table-caption!important}body.skin--responsive .mw-parser-output .infobox-table>tbody{display:table-row-group}body.skin--responsive .mw-parser-output .infobox-table tr{display:table-row!important}body.skin--responsive .mw-parser-output .infobox-table th,body.skin--responsive .mw-parser-output .infobox-table td{padding-left:inherit;padding-right:inherit}}</style><table class="infobox nowraplinks"><tbody><tr><th colspan="2" class="infobox-above">Electronic music</th></tr><tr><th scope="row" class="infobox-label">Other names</th><td class="infobox-data hlist"><a href="/wiki/Electronica" title="Electronica">Electronica</a><a href="#cite_note-1">[1]</a></td></tr><tr><th scope="row" class="infobox-label">Stylistic origins</th><td class="infobox-data hlist"> <ul><li><a href="/wiki/Modernism_(music)" title="Modernism (music)">Modernism</a></li> <li><a href="/wiki/Futurism_(music)" title="Futurism (music)">Futurism</a></li></ul> </td></tr><tr><th scope="row" class="infobox-label">Cultural origins</th><td class="infobox-data hlist">Early 20th century, <a href="/wiki/United_States" title="United States">United States</a> and <a href="/wiki/Europe" title="Europe">Europe</a></td></tr><tr><th scope="row" class="infobox-label">Derivative forms</th><td class="infobox-data hlist"> <ul><li><a href="/wiki/Ambient_music" title="Ambient music">Ambient</a></li> <li><a href="/wiki/Drone_music" title="Drone music">drone</a></li> <li><a href="/wiki/Dub_music" title="Dub music">dub</a></li> <li><a href="/wiki/Electronic_dance_music" title="Electronic dance music">EDM</a></li> <li><a href="/wiki/Intelligent_dance_music" title="Intelligent dance music">IDM</a></li> <li><a href="/wiki/Hip_hop_music" title="Hip hop music">hip hop</a></li> <li><a href="/wiki/New-age_music" title="New-age music">new-age</a></li> <li><a href="/wiki/New_wave_music" title="New wave music">new wave</a></li> <li><a href="/wiki/Noise_music" title="Noise music">noise</a></li> <li><a href="/wiki/Phonk" title="Phonk">phonk</a></li> <li><a href="/wiki/Neo_soul" title="Neo soul">neo soul</a></li> <li><a href="/wiki/Psychedelic_music" title="Psychedelic music">psychedelic</a></li> <li><a href="/wiki/Synth-pop" title="Synth-pop">synth-pop</a></li> <li>synthedelia<a href="#cite_note-2">[2]</a></li></ul> </td></tr><tr><th colspan="2" class="infobox-header">Other topics</th></tr><tr><td colspan="2" class="infobox-full-data hlist"> <ul><li><a href="/wiki/Avant-garde_music" title="Avant-garde music">Avant-garde music</a></li> <li><a href="/wiki/Computer_music" title="Computer music">computer music</a></li> <li><a href="/wiki/Electronics_in_rock_music" title="Electronics in rock music">electronics in rock music</a></li> <li><a href="/wiki/Experimental_music" title="Experimental music">experimental music</a></li> <li><a href="/wiki/Music_technology_(electronic_and_digital)" title="Music technology (electronic and digital)">music technology (electronic and digital)</a></li> <li><a href="/wiki/Timeline_of_electronic_music_genres" title="Timeline of electronic music genres">timeline of electronic music genres</a></li></ul> </td></tr></tbody></table> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><style data-mw-deduplicate="TemplateStyles:r1246091330">.mw-parser-output .sidebar{width:22em;float:right;clear:right;margin:0.5em 0 1em 1em;background:var(--background-color-neutral-subtle,#f8f9fa);border:1px solid 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.sidebar{width:100%!important;clear:both;float:none!important;margin-left:0!important;margin-right:0!important}}body.skin--responsive .mw-parser-output .sidebar a>img{max-width:none!important}@media screen{html.skin-theme-clientpref-night .mw-parser-output .sidebar:not(.notheme) .sidebar-list-title,html.skin-theme-clientpref-night .mw-parser-output .sidebar:not(.notheme) .sidebar-title-with-pretitle{background:transparent!important}html.skin-theme-clientpref-night .mw-parser-output .sidebar:not(.notheme) .sidebar-title-with-pretitle a{color:var(--color-progressive)!important}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .sidebar:not(.notheme) .sidebar-list-title,html.skin-theme-clientpref-os .mw-parser-output .sidebar:not(.notheme) .sidebar-title-with-pretitle{background:transparent!important}html.skin-theme-clientpref-os .mw-parser-output .sidebar:not(.notheme) .sidebar-title-with-pretitle a{color:var(--color-progressive)!important}}@media print{body.ns-0 .mw-parser-output .sidebar{display:none!important}}</style><table class="sidebar nomobile nowraplinks"><tbody><tr><th class="sidebar-title"><a class="mw-selflink selflink">Electronic music</a></th></tr><tr><th class="sidebar-heading"> Experimental forms</th></tr><tr><td class="sidebar-content hlist"> <ul><li><a href="/wiki/Ambient_music" title="Ambient music">Ambient music</a></li> <li><a href="/wiki/Electroacoustic_music" title="Electroacoustic music">Electroacoustic music</a> <ul><li><a href="/wiki/Musique_concr%C3%A8te" title="Musique concrète">Musique concrète</a></li></ul></li> <li><a href="/wiki/Glitch_(music)" title="Glitch (music)">Glitch</a></li> <li><a href="/wiki/Industrial_music" title="Industrial music">Industrial music</a></li> <li><a href="/wiki/Noise_music" title="Noise music">Noise music</a></li></ul></td> </tr><tr><th class="sidebar-heading"> Popular styles</th></tr><tr><td class="sidebar-content hlist"> <ul><li><a href="/wiki/Breakbeat" title="Breakbeat">Breakbeat</a></li> <li><a href="/wiki/Chiptune" title="Chiptune">Chiptune</a></li> <li><a href="/wiki/Dancehall" title="Dancehall">Dancehall</a></li> <li><a href="/wiki/Downtempo" title="Downtempo">Downtempo</a></li> <li><a href="/wiki/Drum_and_bass" title="Drum and bass">Drum and bass</a></li> <li><a href="/wiki/Dub_music" title="Dub music">Dub</a></li> <li><a href="/wiki/Dubstep" title="Dubstep">Dubstep</a></li> <li><a href="/wiki/Electro_(music)" title="Electro (music)">Electro</a></li> <li><a href="/wiki/Electronic_dance_music" title="Electronic dance music">EDM</a></li> <li><a href="/wiki/Grime_(music)" class="mw-redirect" title="Grime (music)">Grime</a></li> <li><a href="/wiki/Hardcore_(electronic_dance_music_genre)" title="Hardcore (electronic dance music genre)">Hardcore</a></li> <li><a href="/wiki/House_music" title="House music">House</a></li> <li><a href="/wiki/Intelligent_dance_music" title="Intelligent dance music">IDM</a></li> <li><a href="/wiki/Synth-pop" title="Synth-pop">Synth-pop</a></li> <li><a href="/wiki/Techno" title="Techno">Techno</a></li> <li><a href="/wiki/Trance_music" title="Trance music">Trance</a></li> <li><a href="/wiki/UK_garage" title="UK garage">UK garage</a></li> <li><a href="/wiki/Vaporwave" title="Vaporwave">Vaporwave</a></li></ul></td> </tr><tr><th class="sidebar-heading"> Other topics</th></tr><tr><td class="sidebar-content hlist"> <ul><li><a href="/wiki/Disco" title="Disco">Disco</a></li> <li><a href="/wiki/Electronics_in_rock_music" title="Electronics in rock music">In rock music</a></li> <li><a href="/wiki/Electronics_in_folk_music" class="mw-redirect" title="Electronics in folk music">In folk music</a></li> <li><a href="/wiki/Loudspeaker" title="Loudspeaker">Loudspeaker</a></li> <li><a href="/wiki/List_of_electronic_music_genres" title="List of electronic music genres">List of genres</a></li> <li><a href="/wiki/Sampling_(music)" title="Sampling (music)">Sampling</a></li> <li><a href="/wiki/Recording_studio_as_an_instrument" title="Recording studio as an instrument">Studio as compositional tool</a></li> <li><a href="/wiki/Turntablism" title="Turntablism">Turntablism</a> <ul><li><a href="/wiki/Hip_hop_music" title="Hip hop music">Hip hop</a></li></ul></li> <li><a href="/wiki/Sound_system_(DJ)" title="Sound system (DJ)">Sound system</a></li> <li><a href="/wiki/Video_game_music" title="Video game music">Video game music</a></li></ul></td> </tr><tr><td class="sidebar-navbar"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><style data-mw-deduplicate="TemplateStyles:r1239400231">.mw-parser-output .navbar{display:inline;font-size:88%;font-weight:normal}.mw-parser-output .navbar-collapse{float:left;text-align:left}.mw-parser-output .navbar-boxtext{word-spacing:0}.mw-parser-output .navbar ul{display:inline-block;white-space:nowrap;line-height:inherit}.mw-parser-output .navbar-brackets::before{margin-right:-0.125em;content:"[ "}.mw-parser-output .navbar-brackets::after{margin-left:-0.125em;content:" ]"}.mw-parser-output .navbar li{word-spacing:-0.125em}.mw-parser-output .navbar a>span,.mw-parser-output .navbar a>abbr{text-decoration:inherit}.mw-parser-output .navbar-mini abbr{font-variant:small-caps;border-bottom:none;text-decoration:none;cursor:inherit}.mw-parser-output .navbar-ct-full{font-size:114%;margin:0 7em}.mw-parser-output .navbar-ct-mini{font-size:114%;margin:0 4em}html.skin-theme-clientpref-night .mw-parser-output .navbar li a abbr{color:var(--color-base)!important}@media(prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .navbar li a abbr{color:var(--color-base)!important}}@media print{.mw-parser-output .navbar{display:none!important}}</style><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Electronic_music_top" title="Template:Electronic music top"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Electronic_music_top" title="Template talk:Electronic music top"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Electronic_music_top" title="Special:EditPage/Template:Electronic music top"><abbr title="Edit this template">e</abbr></a></li></ul></div></td></tr></tbody></table> Electronic music broadly is a group of <a href="/wiki/Music_genre" title="Music genre">music genres</a> that employ <a href="/wiki/Electronic_musical_instrument" title="Electronic musical instrument">electronic musical instruments</a>, circuitry-based <a href="/wiki/Music_technology" title="Music technology">music technology</a> and software, or general-purpose <a href="/wiki/Electronics" title="Electronics">electronics</a> (such as <a href="/wiki/Personal_computer" title="Personal computer">personal computers</a>) in its creation. It includes both music made using electronic and electromechanical means (<a href="/wiki/Electroacoustic_music" title="Electroacoustic music">electroacoustic music</a>). Pure electronic instruments depended entirely on circuitry-based sound generation, for instance using devices such as an <a href="/wiki/Electronic_oscillator" title="Electronic oscillator">electronic oscillator</a>, <a href="/wiki/Theremin" title="Theremin">theremin</a>, or <a href="/wiki/Synthesizer" title="Synthesizer">synthesizer</a>. Electromechanical instruments can have mechanical parts such as strings, hammers, and electric elements including <a href="/wiki/Pickup_(music_technology)" title="Pickup (music technology)">magnetic pickups</a>, <a href="/wiki/Power_amplifier" class="mw-redirect" title="Power amplifier">power amplifiers</a> and <a href="/wiki/Loudspeaker" title="Loudspeaker">loudspeakers</a>. Such electromechanical devices include the <a href="/wiki/Telharmonium" title="Telharmonium">telharmonium</a>, <a href="/wiki/Hammond_organ" title="Hammond organ">Hammond organ</a>, <a href="/wiki/Electric_piano" title="Electric piano">electric piano</a> and <a href="/wiki/Electric_guitar" title="Electric guitar">electric guitar</a>.<a href="#cite_note-holmes3-3">[3]</a><a href="#cite_note-holmes1-4">[4]</a> 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 by changing the tape speed or direction, leading to the development of <a href="/wiki/Electroacoustic_music" title="Electroacoustic music">electroacoustic</a> <a href="/wiki/Tape_music" class="mw-redirect" title="Tape music">tape music</a> in the 1940s, in Egypt and France. <a href="/wiki/Musique_concr%C3%A8te" title="Musique concrète">Musique concrète</a>, 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 <a href="/wiki/Karlheinz_Stockhausen" title="Karlheinz Stockhausen">Karlheinz Stockhausen</a>. Electronic music was also created in Japan and the United States beginning in the 1950s and <a href="/wiki/Algorithmic_composition" title="Algorithmic composition">algorithmic composition</a> with computers was first demonstrated in the same decade. During the 1960s, digital <a href="/wiki/Computer_music" title="Computer music">computer music</a> was pioneered, innovation in <a href="/wiki/Live_electronics" class="mw-redirect" title="Live electronics">live electronics</a> took place, and Japanese electronic musical instruments began to influence the <a href="/wiki/Music_industry" title="Music industry">music industry</a>. In the early 1970s, <a href="/wiki/Moog_synthesizer" title="Moog synthesizer">Moog synthesizers</a> and <a href="/wiki/Drum_machine" title="Drum machine">drum machines</a> helped popularize synthesized electronic music. The 1970s also saw electronic music begin to have a significant influence on <a href="/wiki/Popular_music" title="Popular music">popular music</a>, with the adoption of <a href="/wiki/Polyphonic_synthesizer" class="mw-redirect" title="Polyphonic synthesizer">polyphonic synthesizers</a>, <a href="/wiki/Electronic_drum" title="Electronic drum">electronic drums</a>, drum machines, and <a href="/wiki/Turntablism" title="Turntablism">turntables</a>, through the emergence of genres such as <a href="/wiki/Disco" title="Disco">disco</a>, <a href="/wiki/Krautrock" title="Krautrock">krautrock</a>, <a href="/wiki/New_wave_music" title="New wave music">new wave</a>, <a href="/wiki/Synth-pop" title="Synth-pop">synth-pop</a>, <a href="/wiki/Hip_hop_music" title="Hip hop music">hip hop</a>, and <a href="/wiki/Electronic_dance_music" title="Electronic dance music">EDM</a>. In the early 1980s mass-produced <a href="/wiki/Digital_synthesizer" title="Digital synthesizer">digital synthesizers</a>, such as the <a href="/wiki/Yamaha_DX7" title="Yamaha DX7">Yamaha DX7</a>, became popular, and <a href="/wiki/MIDI" title="MIDI">MIDI</a> (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.<a href="#cite_note-5">[5]</a> In Berlin starting in 1989, the <a href="/wiki/Love_Parade" title="Love Parade">Love Parade</a> became the largest street party with over 1 million visitors, inspiring other such popular celebrations of electronic music.<a href="#cite_note-6">[6]</a> Contemporary electronic music includes many varieties and ranges from <a href="/wiki/Experimental_music" title="Experimental music">experimental art music</a> to popular forms such as <a href="/wiki/Electronic_dance_music" title="Electronic dance music">electronic dance music</a>. 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.<a href="#cite_note-7">[7]</a> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Origins:_late_19th_century_to_early_20th_century">Origins: late 19th century to early 20th century</h2>[<a href="/w/index.php?title=Electronic_music&action=edit&section=1" title="Edit section: Origins: late 19th century to early 20th century">edit</a>]</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Telharmonium_-_Scientific_American_1907_(zoomed_400%25,_brightened).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/00/Telharmonium_-_Scientific_American_1907_%28zoomed_400%25%2C_brightened%29.jpg/220px-Telharmonium_-_Scientific_American_1907_%28zoomed_400%25%2C_brightened%29.jpg" decoding="async" width="220" height="314" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/00/Telharmonium_-_Scientific_American_1907_%28zoomed_400%25%2C_brightened%29.jpg/330px-Telharmonium_-_Scientific_American_1907_%28zoomed_400%25%2C_brightened%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/00/Telharmonium_-_Scientific_American_1907_%28zoomed_400%25%2C_brightened%29.jpg/440px-Telharmonium_-_Scientific_American_1907_%28zoomed_400%25%2C_brightened%29.jpg 2x" data-file-width="6000" data-file-height="8572" /></a><figcaption>Front page of <a href="/wiki/Scientific_American" title="Scientific American">Scientific American</a> in 1907, demonstrating the size, operation, and popularity of the <a href="/wiki/Telharmonium" title="Telharmonium">Telharmonium</a></figcaption></figure> At the turn of the 20th century, experimentation with <a href="/wiki/Timeline_of_electrical_and_electronic_engineering" title="Timeline of electrical and electronic engineering">emerging electronics</a> led to the first <a href="/wiki/Electronic_musical_instrument" title="Electronic musical instrument">electronic musical instruments</a>.<a href="#cite_note-holmes_41-8">[8]</a> 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.<a href="#cite_note-9">[9]</a> While some were considered novelties and produced simple tones, the <a href="/wiki/Telharmonium" title="Telharmonium">Telharmonium</a> <a href="/wiki/Synthesizer" title="Synthesizer">synthesized</a> the sound of several orchestral instruments with reasonable precision. It achieved viable public interest and made commercial progress into <a href="/wiki/Music_streaming" class="mw-redirect" title="Music streaming">streaming music</a> through <a href="/wiki/Telephone_network" title="Telephone network">telephone networks</a>.<a href="#cite_note-holmes_47-10">[10]</a> Critics of musical conventions at the time saw promise in these developments. <a href="/wiki/Ferruccio_Busoni" title="Ferruccio Busoni">Ferruccio Busoni</a> encouraged the composition of <a href="/wiki/Microtonal_music" class="mw-redirect" title="Microtonal music">microtonal music</a> allowed for by electronic instruments. He predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music (1907).<a href="#cite_note-FOOTNOTEBusoni196295-11">[11]</a><a href="#cite_note-FOOTNOTERusscol197235–36-12">[12]</a> <a href="/wiki/Futurism_(music)" title="Futurism (music)">Futurists</a> such as <a href="/wiki/Francesco_Balilla_Pratella" title="Francesco Balilla Pratella">Francesco Balilla Pratella</a> and <a href="/wiki/Luigi_Russolo" title="Luigi Russolo">Luigi Russolo</a> began composing <a href="/wiki/Noise_music" title="Noise music">music with acoustic noise</a> to evoke the sound of <a href="/wiki/Machinery" class="mw-redirect" title="Machinery">machinery</a>. They predicted expansions in <a href="/wiki/Timbre" title="Timbre">timbre</a> allowed for by electronics in the influential manifesto <a href="/wiki/The_Art_of_Noises" title="The Art of Noises">The Art of Noises</a> (1913).<a href="#cite_note-13">[13]</a><a href="#cite_note-tvnpyt-14">[14]</a> <div class="mw-heading mw-heading3"><h3 id="Early_compositions">Early compositions</h3>[<a href="/w/index.php?title=Electronic_music&action=edit&section=2" title="Edit section: Early compositions">edit</a>]</div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Lev_Termen_playing_-_cropped.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/74/Lev_Termen_playing_-_cropped.jpg/220px-Lev_Termen_playing_-_cropped.jpg" decoding="async" width="220" height="281" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/7/74/Lev_Termen_playing_-_cropped.jpg 1.5x" data-file-width="238" data-file-height="304" /></a><figcaption><a href="/wiki/Leon_Theremin" title="Leon Theremin">Leon Theremin</a> demonstrating the theremin in 1927</figcaption></figure> Developments of the <a href="/wiki/Vacuum_tube" title="Vacuum tube">vacuum tube</a> led to electronic instruments that were smaller, <a href="/wiki/Amplifier" title="Amplifier">amplified</a>, and more practical for performance.<a href="#cite_note-holmes_18-15">[15]</a> In particular, the <a href="/wiki/Theremin" title="Theremin">theremin</a>, <a href="/wiki/Ondes_Martenot" title="Ondes Martenot">ondes Martenot</a> and <a href="/wiki/Trautonium" title="Trautonium">trautonium</a> were commercially produced by the early 1930s.<a href="#cite_note-holmes_21-16">[16]</a><a href="#cite_note-holmes_33-17">[17]</a> From the late 1920s, the increased practicality of electronic instruments influenced composers such as <a href="/wiki/Joseph_Schillinger" title="Joseph Schillinger">Joseph Schillinger</a> and <a href="/wiki/Maria_Sch%C3%BCppel" title="Maria Schüppel">Maria Schuppel</a> to adopt them. They were typically used within orchestras, and most composers wrote parts for the theremin that could otherwise be performed with <a href="/wiki/String_instrument" title="String instrument">string instruments</a>.<a href="#cite_note-holmes_21-16">[16]</a> <a href="/wiki/Avant-garde_music" title="Avant-garde music">Avant-garde composers</a> criticized the predominant use of electronic instruments for conventional purposes.<a href="#cite_note-holmes_21-16">[16]</a> The instruments offered expansions in pitch resources<a href="#cite_note-roads_204-18">[18]</a> that were exploited by advocates of microtonal music such as <a href="/wiki/Charles_Ives" title="Charles Ives">Charles Ives</a>, <a href="/wiki/Dimitrios_Levidis" title="Dimitrios Levidis">Dimitrios Levidis</a>, <a href="/wiki/Olivier_Messiaen" title="Olivier Messiaen">Olivier Messiaen</a> and <a href="/wiki/Edgard_Var%C3%A8se" title="Edgard Varèse">Edgard Varèse</a>.<a href="#cite_note-holmes_24-19">[19]</a><a href="#cite_note-holmes_26-20">[20]</a><a href="#cite_note-holmes_28-21">[21]</a> Further, <a href="/wiki/Percy_Grainger" title="Percy Grainger">Percy Grainger</a> used the theremin to abandon fixed tonation entirely,<a href="#cite_note-toop_00-22">[22]</a> while Russian composers such as <a href="/wiki/Gavriil_Popov_(composer)" title="Gavriil Popov (composer)">Gavriil Popov</a> treated it as a source of noise in otherwise-acoustic <a href="/wiki/Noise_music" title="Noise music">noise music</a>.<a href="#cite_note-smirnov_00-23">[23]</a> <div class="mw-heading mw-heading3"><h3 id="Recording_experiments">Recording experiments</h3>[<a href="/w/index.php?title=Electronic_music&action=edit&section=3" title="Edit section: Recording experiments">edit</a>]</div> Developments in early <a href="/wiki/Sound_recording_and_reproduction" title="Sound recording and reproduction">recording technology</a> paralleled that of electronic instruments. The first means of recording and reproducing audio was invented in the late 19th century with the mechanical <a href="/wiki/Phonograph" title="Phonograph">phonograph</a>.<a href="#cite_note-holmes_34-24">[24]</a> Record players became a common household item, and by the 1920s composers were using them to play short recordings in performances.<a href="#cite_note-holmes_45-25">[25]</a> The introduction of <a href="/wiki/Gramophone_record#Electrical_recording" class="mw-redirect" title="Gramophone record">electrical recording</a> in 1925 was followed by increased experimentation with record players. <a href="/wiki/Paul_Hindemith" title="Paul Hindemith">Paul Hindemith</a> and <a href="/wiki/Ernst_Toch" title="Ernst Toch">Ernst Toch</a> composed several pieces in 1930 by layering recordings of instruments and vocals at adjusted speeds. Influenced by these techniques, <a href="/wiki/John_Cage" title="John Cage">John Cage</a> composed <a href="/wiki/Imaginary_Landscape_No._1" title="Imaginary Landscape No. 1">Imaginary Landscape No. 1</a> in 1939 by adjusting the speeds of recorded tones.<a href="#cite_note-holmes_46-26">[26]</a> Composers began to experiment with newly developed <a href="/wiki/Sound-on-film" title="Sound-on-film">sound-on-film</a> technology. Recordings could be spliced together to create <a href="/wiki/Sound_collage" title="Sound collage">sound collages</a>, such as those by <a href="/wiki/Tristan_Tzara" title="Tristan Tzara">Tristan Tzara</a>, <a href="/wiki/Kurt_Schwitters" title="Kurt Schwitters">Kurt Schwitters</a>, <a href="/wiki/Filippo_Tommaso_Marinetti" title="Filippo Tommaso Marinetti">Filippo Tommaso Marinetti</a>, <a href="/wiki/Walter_Ruttmann" title="Walter Ruttmann">Walter Ruttmann</a> and <a href="/wiki/Dziga_Vertov" title="Dziga Vertov">Dziga Vertov</a>. Further, the technology allowed sound to be <a href="/wiki/Graphical_sound" title="Graphical sound">graphically created and modified</a>. These techniques were used to compose soundtracks for several films in Germany and Russia, in addition to the popular <a href="/wiki/Dr._Jekyll_and_Mr._Hyde_(1931_film)" title="Dr. Jekyll and Mr. Hyde (1931 film)">Dr. Jekyll and Mr. Hyde</a> in the United States. Experiments with graphical sound were continued by <a href="/wiki/Norman_McLaren" title="Norman McLaren">Norman McLaren</a> from the late 1930s.<a href="#cite_note-27">[27]</a> <div class="mw-heading mw-heading2"><h2 id="Development:_1940s_to_1950s">Development: 1940s to 1950s</h2>[<a href="/w/index.php?title=Electronic_music&action=edit&section=4" title="Edit section: Development: 1940s to 1950s">edit</a>]</div> <div class="mw-heading mw-heading3"><h3 id="Electroacoustic_tape_music">Electroacoustic tape music</h3>[<a href="/w/index.php?title=Electronic_music&action=edit&section=5" title="Edit section: Electroacoustic tape music">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Further information: <a href="/wiki/Electroacoustic_music" title="Electroacoustic music">Electroacoustic music</a> and <a href="/wiki/Sound_recording_and_reproduction" title="Sound recording and reproduction">Sound recording and reproduction</a></div> The first practical audio <a href="/wiki/Tape_recorder" title="Tape recorder">tape recorder</a> was unveiled in 1935.<a href="#cite_note-FOOTNOTEAnonymous2006-28">[28]</a> Improvements to the technology were made using the <a href="/wiki/AC_bias" class="mw-redirect" title="AC bias">AC biasing</a> technique, which significantly improved recording fidelity.<a href="#cite_note-engel-weber-29">[29]</a><a href="#cite_note-30">[30]</a> As early as 1942, test recordings were being made in stereo.<a href="#cite_note-31">[31]</a> Although these developments were initially confined to Germany, recorders and tapes were brought to the United States following the end of World War II.<a href="#cite_note-32">[32]</a> These were the basis for the first commercially produced tape recorder in 1948.<a href="#cite_note-FOOTNOTEAngus1984-33">[33]</a> In 1944, before the use of magnetic tape for compositional purposes, Egyptian composer <a href="/wiki/Halim_El-Dabh" title="Halim El-Dabh">Halim El-Dabh</a>, while still a student in <a href="/wiki/Cairo" title="Cairo">Cairo</a>, used a cumbersome <a href="/wiki/Wire_recording" title="Wire recording">wire recorder</a> to record sounds of an ancient <a href="/wiki/Z%C4%81r" title="Zār">zaar</a> 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.<a href="#cite_note-wire_2007-34">[34]</a> The resulting work was entitled The Expression of Zaar 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 <a href="/wiki/Computer_Music_Center" title="Computer Music Center">Columbia-Princeton Electronic Music Center</a> in the late 1950s.<a href="#cite_note-FOOTNOTEHolmes2008156–157-35">[35]</a> <div class="mw-heading mw-heading3"><h3 id="Musique_concrète">Musique concrète</h3>[<a href="/w/index.php?title=Electronic_music&action=edit&section=6" title="Edit section: Musique concrète">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Musique_concr%C3%A8te" title="Musique concrète">Musique concrète</a></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Acousmatic_music" title="Acousmatic music">Acousmatic music</a></div> <style data-mw-deduplicate="TemplateStyles:r1237032888/mw-parser-output/.tmulti">.mw-parser-output .tmulti .multiimageinner{display:flex;flex-direction:column}.mw-parser-output .tmulti .trow{display:flex;flex-direction:row;clear:left;flex-wrap:wrap;width:100%;box-sizing:border-box}.mw-parser-output .tmulti .tsingle{margin:1px;float:left}.mw-parser-output .tmulti .theader{clear:both;font-weight:bold;text-align:center;align-self:center;background-color:transparent;width:100%}.mw-parser-output .tmulti .thumbcaption{background-color:transparent}.mw-parser-output .tmulti .text-align-left{text-align:left}.mw-parser-output .tmulti .text-align-right{text-align:right}.mw-parser-output .tmulti .text-align-center{text-align:center}@media all and (max-width:720px){.mw-parser-output .tmulti .thumbinner{width:100%!important;box-sizing:border-box;max-width:none!important;align-items:center}.mw-parser-output .tmulti .trow{justify-content:center}.mw-parser-output .tmulti .tsingle{float:none!important;max-width:100%!important;box-sizing:border-box;text-align:center}.mw-parser-output .tmulti .tsingle .thumbcaption{text-align:left}.mw-parser-output .tmulti .trow>.thumbcaption{text-align:center}}@media screen{html.skin-theme-clientpref-night .mw-parser-output .tmulti .multiimageinner img{background-color:white}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .tmulti .multiimageinner img{background-color:white}}</style><div class="thumb tmulti tright"><div class="thumbinner multiimageinner" style="width:354px;max-width:354px"><div class="trow"><div class="tsingle" style="width:128px;max-width:128px"><div class="thumbimage"><a href="/wiki/File:Phonogene.jpg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/7/70/Phonogene.jpg/126px-Phonogene.jpg" decoding="async" width="126" height="164" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/70/Phonogene.jpg/189px-Phonogene.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/70/Phonogene.jpg/252px-Phonogene.jpg 2x" data-file-width="312" data-file-height="406" /></a></div><div class="thumbcaption"><a href="/wiki/Musique_concr%C3%A8te#The_phonogene" title="Musique concrète">Phonogene</a> (1953), a tape machine for modifying the sound structure, developed by <a href="/wiki/Pierre_Schaeffer" title="Pierre Schaeffer">Pierre Schaeffer</a> et al. at GRMC</div></div><div class="tsingle" style="width:222px;max-width:222px"><div class="thumbimage"><a href="/wiki/File:Psconcer.jpg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/2/2b/Psconcer.jpg/220px-Psconcer.jpg" decoding="async" width="220" height="164" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/2b/Psconcer.jpg/330px-Psconcer.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/2/2b/Psconcer.jpg 2x" data-file-width="394" data-file-height="293" /></a></div><div class="thumbcaption"><a href="/wiki/Pierre_Schaeffer" title="Pierre Schaeffer">Pierre Schaeffer</a> presenting the <a href="/wiki/Acousmonium" title="Acousmonium">Acousmonium</a> (1974) that consisted of 80 loudspeakers for tape playback, at <a href="/wiki/Groupe_de_Recherches_Musicales" class="mw-redirect" title="Groupe de Recherches Musicales">GRM</a></div></div></div></div></div> Following his work with <a href="/wiki/Studio_d%27Essai" title="Studio d'Essai">Studio d'Essai</a> at <a href="/wiki/Radiodiffusion-T%C3%A9l%C3%A9vision_Fran%C3%A7aise" title="Radiodiffusion-Télévision Française">Radiodiffusion Française</a> (RDF), during the early 1940s, <a href="/wiki/Pierre_Schaeffer" title="Pierre Schaeffer">Pierre Schaeffer</a> is credited with originating the theory and practice of musique concrète. In the late 1940s, experiments in sound-based composition using <a href="/wiki/Shellac" title="Shellac">shellac</a> 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 (<a href="/wiki/Pitch_shift" class="mw-redirect" title="Pitch shift">pitch shift</a>) and <a href="/wiki/Tape_splicing" class="mw-redirect" title="Tape splicing">tape splicing</a>.<a href="#cite_note-FOOTNOTEPalombini199314-36">[36]</a><a href="#cite_note-37">[37]</a> On 5 October 1948, RDF broadcast Schaeffer's Etude aux chemins de fer. This was the first "<a href="/wiki/Movement_(music)" title="Movement (music)">movement</a>" of Cinq études de bruits, and marked the beginning of studio realizations<a href="#cite_note-38">[38]</a> and musique concrète (or acousmatic art). Schaeffer employed a <a href="/wiki/Disc_cutting_lathe" title="Disc cutting lathe">disc cutting lathe</a>, four turntables, a four-channel mixer, filters, an echo chamber, and a mobile recording unit. Not long after this, <a href="/wiki/Pierre_Henry" title="Pierre Henry">Pierre Henry</a> began collaborating with Schaeffer, a partnership that would have profound and lasting effects on the direction of electronic music. Another associate of Schaeffer, <a href="/wiki/Edgard_Var%C3%A8se" title="Edgard Varèse">Edgard Varèse</a>, began work on <a href="/wiki/D%C3%A9serts" title="Déserts">Déserts</a>, a work for chamber orchestra and tape. The tape parts were created at Pierre Schaeffer's studio and were later revised at <a href="/wiki/Columbia_University" title="Columbia University">Columbia University</a>. In 1950, Schaeffer gave the first public (non-broadcast) concert of musique concrète at the <a href="/wiki/%C3%89cole_Normale_de_Musique_de_Paris" title="École Normale de Musique de Paris">École Normale de Musique de Paris</a>. "Schaeffer used a <a href="/wiki/Public_address_system" title="Public address system">PA system</a>, several turntables, and mixers. The performance did not go well, as creating live montages with turntables had never been done before."<a href="#cite_note-FOOTNOTESnyder1998-39">[39]</a> Later that same year, Pierre Henry collaborated with Schaeffer on Symphonie pour un homme seul (1950) the first major work of musique concrete.<a href="#cite_note-FOOTNOTEManning200423-40">[40]</a> In Paris in 1951, in what was to become an important worldwide trend, RTF established the first studio for the production of electronic music. Also in 1951, Schaeffer and Henry produced an opera, Orpheus, for concrete sounds and voices. By 1951 the work of Schaeffer, composer-percussionist Pierre Henry, and sound engineer Jacques Poullin had received official recognition and <a href="/wiki/Musique_concr%C3%A8te#Groupe_de_Recherche_de_Musique_Concrète" title="Musique concrète">The Groupe de Recherches de Musique Concrète</a>, Club d 'Essai de la <a href="/wiki/Radiodiffusion-T%C3%A9l%C3%A9vision_Fran%C3%A7aise" title="Radiodiffusion-Télévision Française">Radiodiffusion-Télévision Française</a> was established at RTF in Paris, the ancestor of the <a href="/wiki/ORTF" class="mw-redirect" title="ORTF">ORTF</a>.<a href="#cite_note-FOOTNOTELange2009173-41">[41]</a> <div class="mw-heading mw-heading3"><h3 id="Elektronische_Musik,_Germany">Elektronische Musik, Germany</h3>[<a href="/w/index.php?title=Electronic_music&action=edit&section=7" title="Edit section: Elektronische Musik, Germany">edit</a>]</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Stockhausen_1991_Studio.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/df/Stockhausen_1991_Studio.jpg/220px-Stockhausen_1991_Studio.jpg" decoding="async" width="220" height="148" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/df/Stockhausen_1991_Studio.jpg/330px-Stockhausen_1991_Studio.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/df/Stockhausen_1991_Studio.jpg/440px-Stockhausen_1991_Studio.jpg 2x" data-file-width="2206" data-file-height="1482" /></a><figcaption>Karlheinz Stockhausen in the Electronic Music Studio of WDR, Cologne, in 1991</figcaption></figure> <a href="/wiki/Karlheinz_Stockhausen" title="Karlheinz Stockhausen">Karlheinz Stockhausen</a> worked briefly in Schaeffer's studio in 1952, and afterward for many years at the <a href="/wiki/Westdeutscher_Rundfunk" title="Westdeutscher Rundfunk">WDR</a> Cologne's <a href="/wiki/Studio_for_Electronic_Music_(WDR)" title="Studio for Electronic Music (WDR)">Studio for Electronic Music</a>. 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 Déserts, for chamber ensemble and tape sounds, and two works by <a href="/wiki/Otto_Luening" title="Otto Luening">Otto Luening</a> and <a href="/wiki/Vladimir_Ussachevsky" title="Vladimir Ussachevsky">Vladimir Ussachevsky</a>: Rhapsodic Variations for the Louisville Symphony and A Poem in Cycles and Bells, both for orchestra and tape. Because he had been working at Schaeffer's studio, the tape part for Varèse's work contains much more concrete sounds than electronic. "A group made up of wind instruments, percussion and piano alternate with the mutated sounds of factory noises and ship sirens and motors, coming from two loudspeakers."<a href="#cite_note-qtrckp-42">[42]</a> At the German premiere of Déserts in Hamburg, which was conducted by <a href="/wiki/Bruno_Maderna" title="Bruno Maderna">Bruno Maderna</a>, the tape controls were operated by <a href="/wiki/Karlheinz_Stockhausen" title="Karlheinz Stockhausen">Karlheinz Stockhausen</a>.<a href="#cite_note-qtrckp-42">[42]</a> 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."<a href="#cite_note-FOOTNOTEAnonymous1972-43">[43]</a> In Cologne, what would become the most famous electronic music studio in the world, was officially opened at the radio studios of the <a href="/wiki/NWDR" class="mw-redirect" title="NWDR">NWDR</a> in 1953, though it had been in the planning stages as early as 1950 and early compositions were made and broadcast in 1951.<a href="#cite_note-FOOTNOTEEimert1972349-44">[44]</a> The brainchild of <a href="/wiki/Werner_Meyer-Eppler" title="Werner Meyer-Eppler">Werner Meyer-Eppler</a>, Robert Beyer, and <a href="/wiki/Herbert_Eimert" title="Herbert Eimert">Herbert Eimert</a> (who became its first director), the studio was soon joined by Karlheinz Stockhausen and <a href="/wiki/Gottfried_Michael_Koenig" title="Gottfried Michael Koenig">Gottfried Michael Koenig</a>. 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.<a href="#cite_note-FOOTNOTEEimert19582-45">[45]</a><a href="#cite_note-FOOTNOTEUngeheuer1992117-46">[46]</a> In 1953, Stockhausen composed his <a href="/wiki/Studie_I" title="Studie I">Studie I</a>, followed in 1954 by <a href="/wiki/Studie_II" title="Studie II">Elektronische Studie II</a>—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 <a href="/wiki/Studio_di_fonologia_musicale_di_Radio_Milano" title="Studio di fonologia musicale di Radio Milano">Studio di fonologia musicale di Radio Milano</a>, a studio at the <a href="/wiki/NHK" title="NHK">NHK</a> in Tokyo founded by <a href="/wiki/Toshiro_Mayuzumi" title="Toshiro Mayuzumi">Toshiro Mayuzumi</a>, and the Philips studio at <a href="/wiki/Eindhoven" title="Eindhoven">Eindhoven</a>, the Netherlands, which moved to the <a href="/wiki/University_of_Utrecht" class="mw-redirect" title="University of Utrecht">University of Utrecht</a> as the <a href="/wiki/Institute_of_Sonology" title="Institute of Sonology">Institute of Sonology</a> in 1960. "With Stockhausen and <a href="/wiki/Mauricio_Kagel" title="Mauricio Kagel">Mauricio Kagel</a> in residence, [Cologne] became a year-round hive of charismatic avant-gardism."<a href="#cite_note-47">[47]</a> on two occasions combining electronically generated sounds with relatively conventional orchestras—in <a href="/wiki/Mixtur" title="Mixtur">Mixtur</a> (1964) and <a href="/wiki/Hymnen" title="Hymnen">Hymnen, dritte Region mit Orchester</a> (1967).<a href="#cite_note-FOOTNOTEStockhausen197873–76,_78–79-48">[48]</a> 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".<a href="#cite_note-49">[49]</a> <div class="mw-heading mw-heading3"><h3 id="United_States">United States</h3>[<a href="/w/index.php?title=Electronic_music&action=edit&section=8" title="Edit section: United States">edit</a>]</div> In the United States, electronic music was being created as early as 1939, when John Cage published <a href="/wiki/Imaginary_Landscape,_No._1" class="mw-redirect" title="Imaginary Landscape, No. 1">Imaginary Landscape, No. 1</a>, 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 <a href="/wiki/Williams_Mix" title="Williams Mix">Williams Mix</a> at Donaueschingen in 1954, using eight loudspeakers, three years after his alleged collaboration.[<a href="/wiki/Wikipedia:Please_clarify" title="Wikipedia:Please clarify">clarification needed</a>] Williams Mix was a success at the <a href="/wiki/Donaueschingen_Festival" title="Donaueschingen Festival">Donaueschingen Festival</a>, where it made a "strong impression".<a href="#cite_note-FOOTNOTELuening1968136-50">[50]</a> The Music for Magnetic Tape Project was formed by members of the <a href="/wiki/New_York_School_(art)" title="New York School (art)">New York School</a> (<a href="/wiki/John_Cage" title="John Cage">John Cage</a>, <a href="/wiki/Earle_Brown" title="Earle Brown">Earle Brown</a>, <a href="/wiki/Christian_Wolff_(composer)" title="Christian Wolff (composer)">Christian Wolff</a>, <a href="/wiki/David_Tudor" title="David Tudor">David Tudor</a>, and <a href="/wiki/Morton_Feldman" title="Morton Feldman">Morton Feldman</a>),<a href="#cite_note-NYschool2-51">[51]</a> 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."<a href="#cite_note-NYschool3-52">[52]</a> Cage completed Williams Mix in 1953 while working with the Music for Magnetic Tape Project.<a href="#cite_note-NYschool1-53">[53]</a> The group had no permanent facility, and had to rely on borrowed time in commercial sound studios, including the studio of <a href="/wiki/Bebe_and_Louis_Barron" title="Bebe and Louis Barron">Bebe and Louis Barron</a>. <div class="mw-heading mw-heading3"><h3 id="Columbia-Princeton_Center">Columbia-Princeton Center</h3>[<a href="/w/index.php?title=Electronic_music&action=edit&section=9" title="Edit section: Columbia-Princeton Center">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Further information: <a href="/wiki/Columbia-Princeton_Electronic_Music_Center" class="mw-redirect" title="Columbia-Princeton Electronic Music Center">Columbia-Princeton Electronic Music Center</a></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Vladimir_Ussachevsky" title="Vladimir Ussachevsky">Vladimir Ussachevsky</a> and <a href="/wiki/RCA_Mark_II_Sound_Synthesizer" title="RCA Mark II Sound Synthesizer">RCA Mark II Sound Synthesizer</a></div> In the same year <a href="/wiki/Columbia_University" title="Columbia University">Columbia University</a> purchased its first tape recorder—a professional <a href="/wiki/Ampex" title="Ampex">Ampex</a> 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. 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."<a href="#cite_note-nwclfn-54">[54]</a> Ussachevsky said later: "I suddenly realized that the tape recorder could be treated as an instrument of sound transformation."<a href="#cite_note-nwclfn-54">[54]</a> On 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 Transposition, Reverberation, Experiment, Composition, and Underwater Valse. In an interview, he stated: "I presented a few examples of my discovery in a public concert in New York together with other compositions I had written for conventional instruments."<a href="#cite_note-nwclfn-54">[54]</a> 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."<a href="#cite_note-urajla-55">[55]</a> Just three months later, in August 1952, Ussachevsky traveled to Bennington, Vermont, at Luening's invitation to present his experiments. There, the two collaborated on various pieces. Luening described the event: "Equipped with earphones and a flute, I began developing my first tape-recorder composition. Both of us were fluent improvisors and the medium fired our imaginations."<a href="#cite_note-urajla-55">[55]</a> 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)."<a href="#cite_note-urajla-55">[55]</a> 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 <a href="/wiki/Leopold_Stokowski" title="Leopold Stokowski">Leopold Stokowski</a> at the Museum of Modern Art in New York. After some hesitation, we agreed. . . . <a href="/wiki/Henry_Cowell" title="Henry Cowell">Henry Cowell</a> 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."<a href="#cite_note-urajla-55">[55]</a> 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 Fantasy in Space (1952)—"an impressionistic <a href="/wiki/Virtuoso" title="Virtuoso">virtuoso</a> piece"<a href="#cite_note-urajla-55">[55]</a> using manipulated recordings of flute—and Low Speed (1952), an "exotic composition that took the flute far below its natural range."<a href="#cite_note-urajla-55">[55]</a> 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 [flute] sequences for the tape recorder. Ussachevsky then and there put them through electronic transformations."<a href="#cite_note-FOOTNOTELuening196849-56">[56]</a> The score for <a href="/wiki/Forbidden_Planet" title="Forbidden Planet">Forbidden Planet</a>, by <a href="/wiki/Louis_and_Bebe_Barron" class="mw-redirect" title="Louis and Bebe Barron">Louis and Bebe Barron</a>,<a href="#cite_note-norman2-57">[57]</a> was entirely composed using custom-built electronic circuits and tape recorders in 1956 (but no synthesizers in the modern sense of the word).[<a href="/wiki/Wikipedia:Please_clarify" title="Wikipedia:Please clarify">clarification needed</a>] <div class="mw-heading mw-heading3"><h3 id="USSR">USSR</h3>[<a href="/w/index.php?title=Electronic_music&action=edit&section=10" title="Edit section: USSR">edit</a>]</div> <figure typeof="mw:File/Thumb"><a href="/wiki/File:ANS_Synthesiser,_Glinka_Museum.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f1/ANS_Synthesiser%2C_Glinka_Museum.jpg/200px-ANS_Synthesiser%2C_Glinka_Museum.jpg" decoding="async" width="200" height="150" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f1/ANS_Synthesiser%2C_Glinka_Museum.jpg/300px-ANS_Synthesiser%2C_Glinka_Museum.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f1/ANS_Synthesiser%2C_Glinka_Museum.jpg/400px-ANS_Synthesiser%2C_Glinka_Museum.jpg 2x" data-file-width="2576" data-file-height="1936" /></a><figcaption><a href="/wiki/ANS_synthesizer" title="ANS synthesizer">ANS synthesizer</a> exhibited at Glinka Museum</figcaption></figure> In 1929, <a href="/wiki/Nikolai_Obukhov" title="Nikolai Obukhov">Nikolai Obukhov</a> invented the "<a href="/wiki/Croix_Sonore" title="Croix Sonore">sounding cross</a>" (la <a href="/wiki/Croix_Sonore" title="Croix Sonore">croix sonore</a>), comparable to the principle of the <a href="/wiki/Theremin" title="Theremin">theremin</a>.<a href="#cite_note-theory-58">[58]</a> In the 1930s, Nikolai Ananyev invented "sonar", and engineer Alexander Gurov — neoviolena, I. Ilsarov — ilston.,<a href="#cite_note-59">[59]</a> <a href="/w/index.php?title=A._Rimsky-Korsakov&action=edit&redlink=1" class="new" title="A. Rimsky-Korsakov (page does not exist)">A. Rimsky-Korsakov</a> [<a href="https://ru.wikipedia.org/wiki/%D0%A0%D0%B8%D0%BC%D1%81%D0%BA%D0%B8%D0%B9-%D0%9A%D0%BE%D1%80%D1%81%D0%B0%D0%BA%D0%BE%D0%B2,_%D0%90%D0%BD%D0%B4%D1%80%D0%B5%D0%B9_%D0%92%D0%BB%D0%B0%D0%B4%D0%B8%D0%BC%D0%B8%D1%80%D0%BE%D0%B2%D0%B8%D1%87" class="extiw" title="ru:Римский-Корсаков, Андрей Владимирович">ru</a>] and A. Ivanov — <a href="/w/index.php?title=Emiriton&action=edit&redlink=1" class="new" title="Emiriton (page does not exist)">emiriton</a> [<a href="https://ru.wikipedia.org/wiki/%D0%AD%D0%BC%D0%B8%D1%80%D0%B8%D1%82%D0%BE%D0%BD" class="extiw" title="ru:Эмиритон">ru</a>].<a href="#cite_note-theory-58">[58]</a> Composer and inventor <a href="/wiki/Arseny_Avraamov" title="Arseny Avraamov">Arseny Avraamov</a> 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.<a href="#cite_note-mirf-60">[60]</a> In 1956 <a href="/wiki/Vyacheslav_Mescherin" title="Vyacheslav Mescherin">Vyacheslav Mescherin</a> created the <a href="/w/index.php?title=Ensemble_of_electro-musical_instruments&action=edit&redlink=1" class="new" title="Ensemble of electro-musical instruments (page does not exist)">Ensemble of electro-musical instruments</a> [<a href="https://ru.wikipedia.org/wiki/%D0%90%D0%BD%D1%81%D0%B0%D0%BC%D0%B1%D0%BB%D1%8C_%D1%8D%D0%BB%D0%B5%D0%BA%D1%82%D1%80%D0%BE%D0%BC%D1%83%D0%B7%D1%8B%D0%BA%D0%B0%D0%BB%D1%8C%D0%BD%D1%8B%D1%85_%D0%B8%D0%BD%D1%81%D1%82%D1%80%D1%83%D0%BC%D0%B5%D0%BD%D1%82%D0%BE%D0%B2_%D0%BF%D0%BE%D0%B4_%D1%83%D0%BF%D1%80%D0%B0%D0%B2%D0%BB%D0%B5%D0%BD%D0%B8%D0%B5%D0%BC_%D0%92%D1%8F%D1%87%D0%B5%D1%81%D0%BB%D0%B0%D0%B2%D0%B0_%D0%9C%D0%B5%D1%89%D0%B5%D1%80%D0%B8%D0%BD%D0%B0" class="extiw" title="ru:Ансамбль электромузыкальных инструментов под управлением Вячеслава Мещерина">ru</a>], which used theremins, electric harps, electric organs, the first synthesizer in the USSR "Ekvodin",<a href="#cite_note-theory-58">[58]</a> and also created the first Soviet reverb machine. The style in which Meshcherin's ensemble played is known as "<a href="/wiki/Space_age_pop" title="Space age pop">Space age pop</a>".<a href="#cite_note-mirf-60">[60]</a> 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.<a href="#cite_note-theory-58">[58]</a> In 1958, <a href="/wiki/Evgeny_Murzin" class="mw-redirect" title="Evgeny Murzin">Evgeny Murzin</a> designed <a href="/wiki/ANS_synthesizer" title="ANS synthesizer">ANS synthesizer</a>, one of the world's first polyphonic musical synthesizers. Founded by Murzin in 1966, the Moscow Experimental Electronic Music Studio became the base for a new generation of experimenters – <a href="/wiki/Eduard_Artemyev" title="Eduard Artemyev">Eduard Artemyev</a>, <a href="/w/index.php?title=Alexander_Nemtin&action=edit&redlink=1" class="new" title="Alexander Nemtin (page does not exist)">Alexander Nemtin</a> [<a href="https://ru.wikipedia.org/wiki/%D0%9D%D0%B5%D0%BC%D1%82%D0%B8%D0%BD,_%D0%90%D0%BB%D0%B5%D0%BA%D1%81%D0%B0%D0%BD%D0%B4%D1%80_%D0%9F%D0%B0%D0%B2%D0%BB%D0%BE%D0%B2%D0%B8%D1%87" class="extiw" title="ru:Немтин, Александр Павлович">ru</a>], <a href="/wiki/S%C3%A1ndor_Kall%C3%B3s" title="Sándor Kallós">Sándor Kallós</a>, <a href="/wiki/Sofia_Gubaidulina" title="Sofia Gubaidulina">Sofia Gubaidulina</a>, <a href="/wiki/Alfred_Schnittke" title="Alfred Schnittke">Alfred Schnittke</a>, and <a href="/wiki/Vladimir_Martynov" title="Vladimir Martynov">Vladimir Martynov</a>.<a href="#cite_note-theory-58">[58]</a><a href="#cite_note-mirf-60">[60]</a> 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 <a href="/wiki/International_broadcasting" title="International broadcasting">broadcasting</a> to foreign countries.<a href="#cite_note-61">[61]</a> In the mid-1970s, composer <a href="/wiki/Alexander_Zatsepin" class="mw-redirect" title="Alexander Zatsepin">Alexander Zatsepin</a> designed an "orchestrolla" – a modification of the mellotron.<a href="#cite_note-62">[62]</a> The Baltic Soviet Republics also had their own pioneers: in <a href="/wiki/Estonian_SSR" class="mw-redirect" title="Estonian SSR">Estonian SSR</a> — <a href="/wiki/Sven_Grunberg" class="mw-redirect" title="Sven Grunberg">Sven Grunberg</a>, in <a href="/wiki/Lithuanian_SSR" class="mw-redirect" title="Lithuanian SSR">Lithuanian SSR</a> — Gedrus Kupriavicius, in <a href="/wiki/Latvian_SSR" class="mw-redirect" title="Latvian SSR">Latvian SSR</a> — Opus and <a href="/wiki/Zodiac_(Latvian_band)" title="Zodiac (Latvian band)">Zodiac</a>.<a href="#cite_note-mirf-60">[60]</a> <div class="mw-heading mw-heading3"><h3 id="Australia">Australia</h3>[<a href="/w/index.php?title=Electronic_music&action=edit&section=11" title="Edit section: Australia">edit</a>]</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:CSIRAC.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/fb/CSIRAC.jpg/220px-CSIRAC.jpg" decoding="async" width="220" height="165" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/fb/CSIRAC.jpg/330px-CSIRAC.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/fb/CSIRAC.jpg/440px-CSIRAC.jpg 2x" data-file-width="640" data-file-height="480" /></a><figcaption>CSIRAC, Australia's first digital computer, displayed at the <a href="/wiki/Melbourne_Museum" title="Melbourne Museum">Melbourne Museum</a></figcaption></figure> The world's first computer to play music was <a href="/wiki/CSIRAC" title="CSIRAC">CSIRAC</a>, which was designed and built by <a href="/wiki/Trevor_Pearcey" title="Trevor Pearcey">Trevor Pearcey</a> 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 <a href="/wiki/Colonel_Bogey_March" title="Colonel Bogey March">Colonel Bogey March</a>, of which no known recordings exist, only the accurate reconstruction.<a href="#cite_note-FOOTNOTEDoornbusch200525-63">[63]</a> However, <a href="/wiki/CSIRAC" title="CSIRAC">CSIRAC</a> 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 <a href="/wiki/Ferranti_Mark_1" title="Ferranti Mark 1">Ferranti Mark 1</a> computer, a commercial version of the <a href="/wiki/Manchester_Baby" title="Manchester Baby">Baby</a> Machine from the <a href="/wiki/Victoria_University_of_Manchester" title="Victoria University of Manchester">University of Manchester</a> in the autumn of 1951.<a href="#cite_note-Fildes2008-64">[64]</a> The music program was written by <a href="/wiki/Christopher_Strachey" title="Christopher Strachey">Christopher Strachey</a>. <div class="mw-heading mw-heading3"><h3 id="Japan">Japan</h3>[<a href="/w/index.php?title=Electronic_music&action=edit&section=12" title="Edit section: Japan">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1251242444">.mw-parser-output .ambox{border:1px solid #a2a9b1;border-left:10px solid #36c;background-color:#fbfbfb;box-sizing:border-box}.mw-parser-output .ambox+link+.ambox,.mw-parser-output .ambox+link+style+.ambox,.mw-parser-output .ambox+link+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+style+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+link+.ambox{margin-top:-1px}html body.mediawiki .mw-parser-output .ambox.mbox-small-left{margin:4px 1em 4px 0;overflow:hidden;width:238px;border-collapse:collapse;font-size:88%;line-height:1.25em}.mw-parser-output .ambox-speedy{border-left:10px solid #b32424;background-color:#fee7e6}.mw-parser-output .ambox-delete{border-left:10px solid #b32424}.mw-parser-output .ambox-content{border-left:10px solid #f28500}.mw-parser-output .ambox-style{border-left:10px solid #fc3}.mw-parser-output .ambox-move{border-left:10px solid #9932cc}.mw-parser-output .ambox-protection{border-left:10px solid #a2a9b1}.mw-parser-output .ambox .mbox-text{border:none;padding:0.25em 0.5em;width:100%}.mw-parser-output .ambox .mbox-image{border:none;padding:2px 0 2px 0.5em;text-align:center}.mw-parser-output .ambox .mbox-imageright{border:none;padding:2px 0.5em 2px 0;text-align:center}.mw-parser-output .ambox .mbox-empty-cell{border:none;padding:0;width:1px}.mw-parser-output .ambox .mbox-image-div{width:52px}@media(min-width:720px){.mw-parser-output .ambox{margin:0 10%}}@media print{body.ns-0 .mw-parser-output .ambox{display:none!important}}</style><table class="box-Confusing plainlinks metadata ambox ambox-style ambox-confusing" role="presentation"><tbody><tr><td class="mbox-image"><div class="mbox-image-div"><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/f/f2/Edit-clear.svg/40px-Edit-clear.svg.png" decoding="async" width="40" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/f/f2/Edit-clear.svg/60px-Edit-clear.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/f/f2/Edit-clear.svg/80px-Edit-clear.svg.png 2x" data-file-width="48" data-file-height="48" /></div></td><td class="mbox-text"><div class="mbox-text-span">This section may be <a href="/wiki/Wikipedia:Vagueness" title="Wikipedia:Vagueness">confusing or unclear</a> to readers. Please help <a href="/wiki/Wikipedia:Please_clarify" title="Wikipedia:Please clarify">clarify the section</a>. There might be a discussion about this on <a href="/wiki/Talk:Electronic_music" title="Talk:Electronic music">the talk page</a>. (March 2012) (<a href="/wiki/Help:Maintenance_template_removal" title="Help:Maintenance template removal">Learn how and when to remove this message</a>)</div></td></tr></tbody></table> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1237032888/mw-parser-output/.tmulti"><div class="thumb tmulti tright"><div class="thumbinner multiimageinner" style="width:224px;max-width:224px"><div class="trow"><div class="tsingle" style="width:116px;max-width:116px"><div class="thumbimage"><a href="/wiki/File:Yamaha_Magna_Organ_(1935)_Console.jpg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Yamaha_Magna_Organ_%281935%29_Console.jpg/114px-Yamaha_Magna_Organ_%281935%29_Console.jpg" decoding="async" width="114" height="116" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Yamaha_Magna_Organ_%281935%29_Console.jpg/171px-Yamaha_Magna_Organ_%281935%29_Console.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Yamaha_Magna_Organ_%281935%29_Console.jpg/228px-Yamaha_Magna_Organ_%281935%29_Console.jpg 2x" data-file-width="1045" data-file-height="1064" /></a></div></div><div class="tsingle" style="width:104px;max-width:104px"><div class="thumbimage"><a href="/wiki/File:Yamaha_Magna_Organ_(1935)_Tone_Cabinet.jpg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/3/39/Yamaha_Magna_Organ_%281935%29_Tone_Cabinet.jpg/102px-Yamaha_Magna_Organ_%281935%29_Tone_Cabinet.jpg" decoding="async" width="102" height="117" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/39/Yamaha_Magna_Organ_%281935%29_Tone_Cabinet.jpg/153px-Yamaha_Magna_Organ_%281935%29_Tone_Cabinet.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/39/Yamaha_Magna_Organ_%281935%29_Tone_Cabinet.jpg/204px-Yamaha_Magna_Organ_%281935%29_Tone_Cabinet.jpg 2x" data-file-width="731" data-file-height="835" /></a></div></div></div><div class="trow" style="display:flex"><div class="thumbcaption"><a href="/wiki/Yamaha_Magna_Organ" class="mw-redirect" title="Yamaha Magna Organ">Yamaha Magna Organ</a> and the designated tone cabinet (1935)<a href="#cite_note-Yamaha1935-65">[65]</a></div></div></div></div> The earliest group of electronic musical instruments in Japan, <a href="/wiki/Yamaha_Magna_Organ" class="mw-redirect" title="Yamaha Magna Organ">Yamaha Magna Organ</a> was built in 1935.<a href="#cite_note-Yamaha1935-65">[65]</a> however, after World War II, Japanese composers such as <a href="/wiki/Minao_Shibata" title="Minao Shibata">Minao Shibata</a> 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 <a href="/wiki/Music_of_Asia" title="Music of Asia">Asian music</a> into the emerging genre would eventually support Japan's popularity in the development of music technology several decades later.<a href="#cite_note-holmes_106-66">[66]</a> Following the foundation of electronics company <a href="/wiki/Sony" title="Sony">Sony</a> in 1946, composers <a href="/wiki/Toru_Takemitsu" class="mw-redirect" title="Toru Takemitsu">Toru Takemitsu</a> and Minao Shibata independently explored possible uses for electronic technology to produce music.<a href="#cite_note-FOOTNOTEHolmes2008106,_115-67">[67]</a> Takemitsu had ideas similar to <a href="/wiki/Musique_concr%C3%A8te" title="Musique concrète">musique concrète</a>, which he was unaware of, while Shibata foresaw the development of synthesizers and predicted a drastic change in music.<a href="#cite_note-FOOTNOTEFujii200464–66-68">[68]</a> Sony began producing popular <a href="/wiki/Magnetic_tape" title="Magnetic tape">magnetic tape</a> recorders for government and public use.<a href="#cite_note-holmes_106-66">[66]</a><a href="#cite_note-fujii_66-69">[69]</a> The avant-garde collective <a href="/wiki/Jikken_K%C5%8Db%C5%8D" title="Jikken Kōbō">Jikken Kōbō</a> (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.<a href="#cite_note-FOOTNOTEHolmes2008106–107-70">[70]</a> The first electronic tape pieces by the group were "Toraware no Onna" ("Imprisoned Woman") and "Piece B", composed in 1951 by Kuniharu Akiyama.<a href="#cite_note-holmes_107-71">[71]</a> Many of the <a href="/wiki/Electroacoustic_music" title="Electroacoustic music">electroacoustic</a> tape pieces they produced were used as incidental music for radio, film, and theatre. They also held concerts employing a <a href="/wiki/Slide_show" title="Slide show">slide show</a> synchronized with a recorded soundtrack.<a href="#cite_note-FOOTNOTEFujii200466–67-72">[72]</a> Composers outside of the Jikken Kōbō, such as <a href="/wiki/Yasushi_Akutagawa" title="Yasushi Akutagawa">Yasushi Akutagawa</a>, Saburo Tominaga, and <a href="/wiki/Shir%C5%8D_Fukai" title="Shirō Fukai">Shirō Fukai</a>, were also experimenting with <a href="/wiki/Radiophonic" class="mw-redirect" title="Radiophonic">radiophonic</a> tape music between 1952 and 1953.<a href="#cite_note-fujii_66-69">[69]</a> Musique concrète was introduced to Japan by <a href="/wiki/Toshiro_Mayuzumi" title="Toshiro Mayuzumi">Toshiro Mayuzumi</a>, 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.<a href="#cite_note-holmes_107-71">[71]</a><a href="#cite_note-fujii_64-73">[73]</a> However, Schaeffer's concept of <a href="/wiki/Sound_object" title="Sound object">sound object</a> was not influential among Japanese composers, who were mainly interested in overcoming the restrictions of human performance.<a href="#cite_note-fujii_65-74">[74]</a> This led to several Japanese <a href="/wiki/Electroacoustic_music" title="Electroacoustic music">electroacoustic musicians</a> making use of <a href="/wiki/Serialism" title="Serialism">serialism</a> and <a href="/wiki/Twelve-tone_technique" title="Twelve-tone technique">twelve-tone techniques</a>,<a href="#cite_note-fujii_65-74">[74]</a> evident in <a href="/wiki/Yoshir%C5%8D_Irino" title="Yoshirō Irino">Yoshirō Irino</a>'s 1951 <a href="/wiki/Dodecaphonic" class="mw-redirect" title="Dodecaphonic">dodecaphonic</a> piece "Concerto da Camera",<a href="#cite_note-fujii_64-73">[73]</a> in the organization of electronic sounds in Mayuzumi's "X, Y, Z for Musique Concrète", and later in Shibata's electronic music by 1956.<a href="#cite_note-holmes_108-75">[75]</a> 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 radiophonic equipment, ondes Martenot, <a href="/wiki/Monochord" title="Monochord">Monochord</a> and <a href="/wiki/Melochord" class="mw-redirect" title="Melochord">Melochord</a>, sine-wave <a href="/wiki/Oscillator" class="mw-redirect" title="Oscillator">oscillators</a>, tape recorders, <a href="/wiki/Ring_modulator" class="mw-redirect" title="Ring modulator">ring modulators</a>, <a href="/wiki/Band-pass_filter" title="Band-pass filter">band-pass filters</a>, and four- and eight-channel <a href="/wiki/Mixing_console" title="Mixing console">mixers</a>. Musicians associated with the studio included Toshiro Mayuzumi, Minao Shibata, Joji Yuasa, <a href="/wiki/Toshi_Ichiyanagi" title="Toshi Ichiyanagi">Toshi Ichiyanagi</a>, 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".<a href="#cite_note-FOOTNOTEHolmes2008108,_114–115-76">[76]</a><a href="#cite_note-loubet_11-77">[77]</a> <div class="mw-heading mw-heading3"><h3 id="Mid-to-late_1950s">Mid-to-late 1950s</h3>[<a href="/w/index.php?title=Electronic_music&action=edit&section=13" title="Edit section: Mid-to-late 1950s">edit</a>]</div> The impact of computers continued in 1956. <a href="/wiki/Lejaren_Hiller" title="Lejaren Hiller">Lejaren Hiller</a> and <a href="/wiki/Leonard_Isaacson" title="Leonard Isaacson">Leonard Isaacson</a> composed <a href="/wiki/Illiac_Suite" title="Illiac Suite">Illiac Suite</a> for <a href="/wiki/String_quartet" title="String quartet">string quartet</a>, the first complete work of computer-assisted composition using <a href="/wiki/Algorithm" title="Algorithm">algorithmic</a> composition. "... Hiller postulated that a computer could be taught the rules of a particular style and then called on to compose accordingly."<a href="#cite_note-FOOTNOTESchwartz1975347-78">[78]</a> Later developments included the work of <a href="/wiki/Max_Mathews" title="Max Mathews">Max Mathews</a> at <a href="/wiki/Bell_Laboratories" class="mw-redirect" title="Bell Laboratories">Bell Laboratories</a>, who developed the influential <a href="/wiki/MUSIC-N" title="MUSIC-N">MUSIC I</a> program in 1957, one of the first computer programs to play electronic music. <a href="/wiki/Vocoder" title="Vocoder">Vocoder</a> technology was also a major development in this early era. In 1956, Stockhausen composed <a href="/wiki/Gesang_der_J%C3%BCnglinge" title="Gesang der Jünglinge">Gesang der Jünglinge</a>, the first major work of the Cologne studio, based on a text from the <a href="/wiki/Book_of_Daniel" title="Book of Daniel">Book of Daniel</a>. An important technological development of that year was the invention of the <a href="/wiki/Clavivox" title="Clavivox">Clavivox</a> synthesizer by <a href="/wiki/Raymond_Scott" title="Raymond Scott">Raymond Scott</a> with subassembly by <a href="/wiki/Robert_Moog" title="Robert Moog">Robert Moog</a>. In 1957, Kid Baltan (<a href="/wiki/Dick_Raaymakers" class="mw-redirect" title="Dick Raaymakers">Dick Raaymakers</a>) and <a href="/wiki/Tom_Dissevelt" title="Tom Dissevelt">Tom Dissevelt</a> released their debut album, Song Of The Second Moon, recorded at the Philips studio in the Netherlands.<a href="#cite_note-FOOTNOTEHarris2018-79">[79]</a> The public remained interested in the new sounds being created around the world, as can be deduced by the inclusion of Varèse's <a href="/wiki/Po%C3%A8me_%C3%A9lectronique" title="Poème électronique">Poème électronique</a>, which was played over four hundred loudspeakers at the Philips Pavilion of the 1958 <a href="/wiki/Expo_58" title="Expo 58">Brussels World Fair</a>. That same year, <a href="/wiki/Mauricio_Kagel" title="Mauricio Kagel">Mauricio Kagel</a>, an <a href="/wiki/Argentina" title="Argentina">Argentine</a> composer, composed Transición II. 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. <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:RCA_Mark_II_Sound_Synthesizer.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/3b/RCA_Mark_II_Sound_Synthesizer.jpg/220px-RCA_Mark_II_Sound_Synthesizer.jpg" decoding="async" width="220" height="154" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/3b/RCA_Mark_II_Sound_Synthesizer.jpg/330px-RCA_Mark_II_Sound_Synthesizer.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/3b/RCA_Mark_II_Sound_Synthesizer.jpg/440px-RCA_Mark_II_Sound_Synthesizer.jpg 2x" data-file-width="1440" data-file-height="1008" /></a><figcaption><a href="/wiki/RCA_Mark_II_Sound_Synthesizer" title="RCA Mark II Sound Synthesizer">RCA Mark II Sound Synthesizer</a></figcaption></figure> In 1958, Columbia-Princeton developed the <a href="/wiki/RCA_Mark_II_Sound_Synthesizer" title="RCA Mark II Sound Synthesizer">RCA Mark II Sound Synthesizer</a>, the first programmable synthesizer.<a href="#cite_note-FOOTNOTEHolmes2008145–146-80">[80]</a> Prominent composers such as Vladimir Ussachevsky, Otto Luening, <a href="/wiki/Milton_Babbitt" title="Milton Babbitt">Milton Babbitt</a>, <a href="/wiki/Charles_Wuorinen" title="Charles Wuorinen">Charles Wuorinen</a>, Halim El-Dabh, <a href="/wiki/B%C3%BClent_Arel" title="Bülent Arel">Bülent Arel</a> and <a href="/wiki/Mario_Davidovsky" title="Mario Davidovsky">Mario Davidovsky</a> used the <a href="/wiki/RCA" title="RCA">RCA</a> Synthesizer extensively in various compositions.<a href="#cite_note-FOOTNOTERhea198064-81">[81]</a> One of the most influential composers associated with the early years of the studio was Egypt's <a href="/wiki/Halim_El-Dabh" title="Halim El-Dabh">Halim El-Dabh</a> who,<a href="#cite_note-FOOTNOTEHolmes2008153-82">[82]</a> after having developed the earliest known electronic tape music in 1944,<a href="#cite_note-wire_2007-34">[34]</a> became more famous for Leiyla and the Poet, a 1959 series of electronic compositions that stood out for its immersion and seamless <a href="/wiki/Fusion_(music)" class="mw-redirect" title="Fusion (music)">fusion</a> of electronic and <a href="/wiki/Folk_music" title="Folk music">folk music</a>, in contrast to the more mathematical approach used by <a href="/wiki/Serialism" title="Serialism">serial</a> composers of the time such as Babbitt. El-Dabh's Leiyla and the Poet, released as part of the album <a href="/wiki/Columbia%E2%80%93Princeton_Electronic_Music_Center_(album)" title="Columbia–Princeton Electronic Music Center (album)">Columbia-Princeton Electronic Music Center</a> in 1961, would be cited as a strong influence by a number of musicians, ranging from <a href="/wiki/Neil_Rolnick" title="Neil Rolnick">Neil Rolnick</a>, <a href="/wiki/Charles_Amirkhanian" title="Charles Amirkhanian">Charles Amirkhanian</a> and <a href="/wiki/Alice_Shields" title="Alice Shields">Alice Shields</a> to rock musicians <a href="/wiki/Frank_Zappa" title="Frank Zappa">Frank Zappa</a> and <a href="/wiki/The_West_Coast_Pop_Art_Experimental_Band" title="The West Coast Pop Art Experimental Band">The West Coast Pop Art Experimental Band</a>.<a href="#cite_note-FOOTNOTEHolmes2008153–154,_157-83">[83]</a> 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 <a href="/wiki/Musique_concr%C3%A8te#Groupe_de_Recherches_Musicales" title="Musique concrète">Groupe de Recherches Musicales</a> (GRM) and set about recruiting new members including <a href="/wiki/Luc_Ferrari" title="Luc Ferrari">Luc Ferrari</a>, <a href="/wiki/Beatriz_Ferreyra" title="Beatriz Ferreyra">Beatriz Ferreyra</a>, <a href="/wiki/Fran%C3%A7ois-Bernard_M%C3%A2che" title="François-Bernard Mâche">François-Bernard Mâche</a>, <a href="/wiki/Iannis_Xenakis" title="Iannis Xenakis">Iannis Xenakis</a>, <a href="/wiki/Bernard_Parmegiani" title="Bernard Parmegiani">Bernard Parmegiani</a>, and <a href="/wiki/Mireille_Chamass-Kyrou" title="Mireille Chamass-Kyrou">Mireille Chamass-Kyrou</a>. Later arrivals included <a href="/wiki/Ivo_Malec" title="Ivo Malec">Ivo Malec</a>, Philippe Carson, Romuald Vandelle, Edgardo Canton and <a href="/wiki/Fran%C3%A7ois_Bayle" title="François Bayle">François Bayle</a>.<a href="#cite_note-FOOTNOTEGayou2007a207-84">[84]</a> <div class="mw-heading mw-heading2"><h2 id="Expansion:_1960s">Expansion: 1960s</h2>[<a href="/w/index.php?title=Electronic_music&action=edit&section=14" title="Edit section: Expansion: 1960s">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Synthesizer" title="Synthesizer">Synthesizer</a>, <a href="/wiki/Harald_Bode" title="Harald Bode">Harald Bode</a>, <a href="/wiki/Modular_synthesizer" title="Modular synthesizer">Modular synthesizer</a>, <a href="/wiki/Buchla" class="mw-redirect" title="Buchla">Buchla</a>, and <a href="/wiki/Moog_Music" title="Moog Music">Moog Music</a></div> 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 <a href="/wiki/Kontakte" title="Kontakte">Kontakte</a> 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."<a href="#cite_note-FOOTNOTEKurtz19921-85">[85]</a> The <a href="/wiki/Theremin" title="Theremin">theremin</a> 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., <a href="/wiki/Bernard_Herrmann" title="Bernard Herrmann">Bernard Herrmann</a>'s classic score for <a href="/wiki/The_Day_the_Earth_Stood_Still" title="The Day the Earth Stood Still">The Day the Earth Stood Still</a>).<a href="#cite_note-FOOTNOTEGlinsky2000286-86">[86]</a> In the UK in this period, the <a href="/wiki/BBC_Radiophonic_Workshop" title="BBC Radiophonic Workshop">BBC Radiophonic Workshop</a> (established in 1958) came to prominence, thanks in large measure to their work on the BBC science-fiction series <a href="/wiki/Doctor_Who" title="Doctor Who">Doctor Who</a>. One of the most influential British electronic artists in this period<a href="#cite_note-87">[87]</a> was Workshop staffer <a href="/wiki/Delia_Derbyshire" title="Delia Derbyshire">Delia Derbyshire</a>, who is now famous for her 1963 electronic realisation of the iconic <a href="/wiki/Doctor_Who_theme_music" title="Doctor Who theme music">Doctor Who theme</a>, composed by <a href="/wiki/Ron_Grainer" title="Ron Grainer">Ron Grainer</a>. Other composers of electronic music active in the UK included <a href="/wiki/Ernest_Berk" title="Ernest Berk">Ernest Berk</a> (who established his first studio in 1955), <a href="/wiki/Tristram_Cary" title="Tristram Cary">Tristram Cary</a>, <a href="/wiki/Hugh_Davies_(composer)" title="Hugh Davies (composer)">Hugh Davies</a>, <a href="/wiki/Brian_Dennis" title="Brian Dennis">Brian Dennis</a>, <a href="/wiki/George_Newson" title="George Newson">George Newson</a>, <a href="/wiki/Daphne_Oram" title="Daphne Oram">Daphne Oram</a> and <a href="/wiki/Peter_Zinovieff" title="Peter Zinovieff">Peter Zinovieff</a>.<a href="#cite_note-88">[88]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Josef_Tal_-_LeCaine_Creative.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/9d/Josef_Tal_-_LeCaine_Creative.jpg/220px-Josef_Tal_-_LeCaine_Creative.jpg" decoding="async" width="220" height="145" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/9d/Josef_Tal_-_LeCaine_Creative.jpg/330px-Josef_Tal_-_LeCaine_Creative.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/9d/Josef_Tal_-_LeCaine_Creative.jpg/440px-Josef_Tal_-_LeCaine_Creative.jpg 2x" data-file-width="7752" data-file-height="5126" /></a><figcaption>Israeli composer Josef Tal at the Electronic Music Studio in Jerusalem (c. 1965) with <a href="/wiki/Hugh_Le_Caine" title="Hugh Le Caine">Hugh Le Caine</a>'s Creative Tape Recorder (a sound synthesizer) aka "Multi-track"</figcaption></figure> During the time of the <a href="/wiki/UNESCO" title="UNESCO">UNESCO</a> fellowship for studies in electronic music (1958) <a href="/wiki/Josef_Tal" title="Josef Tal">Josef Tal</a> went on a study tour in the US and Canada.<a href="#cite_note-89">[89]</a> He summarized his conclusions in two articles that he submitted to UNESCO.<a href="#cite_note-90">[90]</a> In 1961, he established the Centre for Electronic Music in Israel at <a href="/wiki/The_Hebrew_University" class="mw-redirect" title="The Hebrew University">The Hebrew University</a> of Jerusalem. In 1962, <a href="/wiki/Hugh_Le_Caine" title="Hugh Le Caine">Hugh Le Caine</a> arrived in Jerusalem to install his Creative Tape Recorder in the centre.<a href="#cite_note-FOOTNOTEGluck2005164–165-91">[91]</a> In the 1990s Tal conducted, together with Dr. Shlomo Markel, in cooperation with the <a href="/wiki/Technion_%E2%80%93_Israel_Institute_of_Technology" title="Technion – Israel Institute of Technology">Technion – Israel Institute of Technology</a>, and the <a href="/wiki/Volkswagen_Foundation" title="Volkswagen Foundation">Volkswagen Foundation</a> a research project ('Talmark') aimed at the development of a novel musical notation system for electronic music.<a href="#cite_note-FOOTNOTETalMarkel200255–62-92">[92]</a> 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. <style data-mw-deduplicate="TemplateStyles:r1244412712">.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 32px}.mw-parser-output .templatequotecite{line-height:1.5em;text-align:left;margin-top:0}@media(min-width:500px){.mw-parser-output .templatequotecite{padding-left:1.6em}}</style><blockquote class="templatequote">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?"<a href="#cite_note-FOOTNOTESchwartz1975124-93">[93]</a></blockquote> 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 <a href="/wiki/Mario_Davidovsky" title="Mario Davidovsky">Mario Davidovsky</a> and <a href="/wiki/B%C3%BClent_Arel" title="Bülent Arel">Bülent Arel</a>.<a href="#cite_note-FOOTNOTEBayly1982–1983150-94">[94]</a> The intense activity occurring at CPEMC and elsewhere inspired the establishment of the <a href="/wiki/San_Francisco_Tape_Music_Center" title="San Francisco Tape Music Center">San Francisco Tape Music Center</a> in 1963 by <a href="/wiki/Morton_Subotnick" title="Morton Subotnick">Morton Subotnick</a>, with additional members <a href="/wiki/Pauline_Oliveros" title="Pauline Oliveros">Pauline Oliveros</a>, <a href="/wiki/Ram%C3%B3n_Sender_(composer)" title="Ramón Sender (composer)">Ramon Sender</a>, Anthony Martin, and <a href="/wiki/Terry_Riley" title="Terry Riley">Terry Riley</a>.<a href="#cite_note-95">[95]</a> Later, the Center moved to <a href="/wiki/Mills_College" class="mw-redirect" title="Mills College">Mills College</a>, directed by <a href="/wiki/Pauline_Oliveros" title="Pauline Oliveros">Pauline Oliveros</a>, and has since been renamed Center for Contemporary Music.<a href="#cite_note-oliveros1-96">[96]</a> <a href="/wiki/Pietro_Grossi" title="Pietro Grossi">Pietro Grossi</a> 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 and composition. 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 <a href="/wiki/San_Francisco_Museum_of_Modern_Art" title="San Francisco Museum of Modern Art">San Francisco Museum of Modern Art</a> (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.<a href="#cite_note-frankenstein1964-97">[97]</a> 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".<a href="#cite_note-frankenstein1964-97">[97]</a> In 1967, the first <a href="/wiki/Audium_(theater)" title="Audium (theater)">Audium</a>, a "sound-space continuum" opened, holding weekly performances through 1970. In 1975, enabled by seed money from the <a href="/wiki/National_Endowment_for_the_Arts" title="National Endowment for the Arts">National Endowment for the Arts</a>, a new Audium opened, designed floor to ceiling for spatial sound composition and performance.<a href="#cite_note-FOOTNOTELoy198541–48-98">[98]</a> "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 Poeme Electronique (tape music performed in the Philips Pavilion of the 1958 World Fair, Brussels) and Stan Schaff's Audium installation, currently active in San Francisco."<a href="#cite_note-99">[99]</a><a href="#cite_note-100">[100]</a> Through weekly programs (over 4,500 in 40 years), Shaff "sculpts" sound, performing now-digitized spatial works live through 176 speakers.<a href="#cite_note-FOOTNOTEHertelendy2008-101">[101]</a> <a href="/wiki/Jean-Jacques_Perrey" title="Jean-Jacques Perrey">Jean-Jacques Perrey</a> 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 <a href="/wiki/Gershon_Kingsley" title="Gershon Kingsley">Gershon Kingsley</a> and solo.<a href="#cite_note-FOOTNOTEHolmes2012457-102">[102]</a> A well-known example of the use of Moog's full-sized <a href="/wiki/Moog_modular_synthesizer" class="mw-redirect" title="Moog modular synthesizer">Moog modular synthesizer</a> is the 1968 <a href="/wiki/Switched-On_Bach" title="Switched-On Bach">Switched-On Bach</a> album by <a href="/wiki/Wendy_Carlos" title="Wendy Carlos">Wendy Carlos</a>, which triggered a craze for synthesizer music.<a href="#cite_note-FOOTNOTEHolmes2008216-103">[103]</a> In 1969 <a href="/wiki/David_Tudor" title="David Tudor">David Tudor</a> brought a <a href="/wiki/Moog_modular_synthesizer" class="mw-redirect" title="Moog modular synthesizer">Moog modular synthesizer</a> and Ampex tape machines to the <a href="/wiki/National_Institute_of_Design" title="National Institute of Design">National Institute of Design</a> in Ahmedabad with the support of the <a href="/wiki/Sarabhai_family" title="Sarabhai family">Sarabhai family</a>, 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.<a href="#cite_note-104">[104]</a> <div class="mw-heading mw-heading3"><h3 id="Computer_music">Computer music</h3>[<a href="/w/index.php?title=Electronic_music&action=edit&section=15" title="Edit section: Computer music">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Computer_music" title="Computer music">Computer music</a></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Music-N" class="mw-redirect" title="Music-N">Music-N</a> and <a href="/wiki/Algorithmic_composition" title="Algorithmic composition">Algorithmic composition</a></div> Musical melodies were first generated by the computer <a href="/wiki/CSIRAC" title="CSIRAC">CSIRAC</a> 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 has shown that people speculated about computers playing music, possibly because computers would make noises,<a href="#cite_note-Algorhythmic_Listening_1949-1962_Auditory_Practices_of_Early_Mainframe_Computing-105">[105]</a> but there is no evidence that they actually did it.<a href="#cite_note-Early_Computer_Music_Experiments_in_Australia,_England_and_the_USA-106">[106]</a><a href="#cite_note-Doornbusch-107">[107]</a> The world's first computer to play music was <a href="/wiki/CSIRAC" title="CSIRAC">CSIRAC</a>, which was designed and built by <a href="/wiki/Trevor_Pearcey" title="Trevor Pearcey">Trevor Pearcey</a> 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 "<a href="/wiki/Colonel_Bogey_March" title="Colonel Bogey March">Colonel Bogey March</a>"<a href="#cite_note-108">[108]</a> of which no known recordings exist. However, <a href="/wiki/CSIRAC" title="CSIRAC">CSIRAC</a> played standard repertoire and was not used to extend musical thinking or composition practice which is current computer-music practice. The first music to be performed in England was a performance of the <a href="/wiki/God_Save_the_King" title="God Save the King">British National Anthem</a> that was programmed by <a href="/wiki/Christopher_Strachey" title="Christopher Strachey">Christopher Strachey</a> on the Ferranti Mark I, late in 1951. Later that year, short extracts of three pieces were recorded there by a <a href="/wiki/BBC" title="BBC">BBC</a> outside broadcasting unit: the National Anthem, "<a href="/wiki/Ba,_Ba_Black_Sheep" class="mw-redirect" title="Ba, Ba Black Sheep">Ba, Ba Black Sheep</a>", and "<a href="/wiki/In_the_Mood" title="In the Mood">In the Mood</a>" and this is recognised as the earliest recording of a computer to play music. This recording can be heard at <a rel="nofollow" class="external text" href="http://curation.cs.manchester.ac.uk/digital60/www.digital60.org/media/index.html">this Manchester University site</a>. Researchers at the <a href="/wiki/University_of_Canterbury" title="University of Canterbury">University of Canterbury</a>, Christchurch declicked and restored this recording in 2016 and the results may be heard on <a href="/wiki/SoundCloud" title="SoundCloud">SoundCloud</a>.<a href="#cite_note-Turing-109">[109]</a><a href="#cite_note-BL-2016-09-110">[110]</a><a href="#cite_note-Fildes2008-64">[64]</a> 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 <a href="/wiki/MUSIC-N" title="MUSIC-N">MUSIC V</a>, a direct digital synthesis language.<a href="#cite_note-FOOTNOTEMattis2001-111">[111]</a> <a href="/wiki/Laurie_Spiegel" title="Laurie Spiegel">Laurie Spiegel</a> developed the <a href="/wiki/Algorithmic_composition" title="Algorithmic composition">algorithmic musical composition</a> software "<a href="/wiki/Music_Mouse" title="Music Mouse">Music Mouse</a>" (1986) for <a href="/wiki/Classic_Mac_OS" title="Classic Mac OS">Macintosh</a>, <a href="/wiki/Amiga" title="Amiga">Amiga</a>, and <a href="/wiki/Atari" title="Atari">Atari</a> computers. <div class="mw-heading mw-heading3"><h3 id="Stochastic_music">Stochastic music</h3>[<a href="/w/index.php?title=Electronic_music&action=edit&section=16" title="Edit section: Stochastic music">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1251242444"><table class="box-Importance_section plainlinks metadata ambox ambox-content" role="presentation"><tbody><tr><td class="mbox-image"><div class="mbox-image-div"><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/b/b4/Ambox_important.svg/40px-Ambox_important.svg.png" decoding="async" width="40" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/b/b4/Ambox_important.svg/60px-Ambox_important.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/b/b4/Ambox_important.svg/80px-Ambox_important.svg.png 2x" data-file-width="40" data-file-height="40" /></div></td><td class="mbox-text"><div class="mbox-text-span">This section may contain information not <a href="/wiki/Wikipedia:What_Wikipedia_is_not#Encyclopedic_content" title="Wikipedia:What Wikipedia is not">important or relevant</a> to the article's subject. Please help <a class="external text" href="https://en.wikipedia.org/w/index.php?title=Electronic_music&action=edit">improve this section</a>. (October 2012) (<a href="/wiki/Help:Maintenance_template_removal" title="Help:Maintenance template removal">Learn how and when to remove this message</a>)</div></td></tr></tbody></table> An important new development was the advent of computers to compose music, as opposed to manipulating or creating sounds. <a href="/wiki/Iannis_Xenakis" title="Iannis Xenakis">Iannis Xenakis</a> began what is called musique stochastique, or <a href="/wiki/Stochastic_music" class="mw-redirect" title="Stochastic music">stochastic music</a>, 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 ST/4 for string quartet and ST/48 for orchestra (both 1962),&#91;[[Wikipedia:Citing_sources|<span_title="This_citation_requires_a_reference_to_the_specific_page_or_range_of_pages_in_which_the_material_appears.&#32;(October_2012)">page&nbsp;needed]]&#93;_112-0" class="reference"><a href="#cite_note-FOOTNOTEXenakis1992[[Category:Wikipedia_articles_needing_page_number_citations_from_October_2012]]<sup_class="noprint_Inline-Template_"_style="white-space:nowrap;">&#91;[[Wikipedia:Citing_sources|<span_title="This_citation_requires_a_reference_to_the_specific_page_or_range_of_pages_in_which_the_material_appears.&#32;(October_2012)">page&nbsp;needed]]&#93;-112">[112]</a> Morsima-Amorsima, ST/10, and Atrées. He developed the computer system <a href="/wiki/UPIC" title="UPIC">UPIC</a> for translating graphical images into musical results and composed Mycènes Alpha (1978) with it. <div class="mw-heading mw-heading3"><h3 id="Live_electronics">Live electronics</h3>[<a href="/w/index.php?title=Electronic_music&action=edit&section=17" title="Edit section: Live electronics">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Live_electronic_music" title="Live electronic music">Live electronic music</a></div> In Europe in 1964, <a href="/wiki/Karlheinz_Stockhausen" title="Karlheinz Stockhausen">Karlheinz Stockhausen</a> composed <a href="/wiki/Mikrophonie_(Stockhausen)" title="Mikrophonie (Stockhausen)">Mikrophonie I</a> for <a href="/wiki/Tam-tam" class="mw-redirect" title="Tam-tam">tam-tam</a>, hand-held microphones, filters, and potentiometers, and Mixtur for orchestra, four <a href="/wiki/Sine_wave" title="Sine wave">sine-wave</a> generators, and four <a href="/wiki/Ring_modulator" class="mw-redirect" title="Ring modulator">ring modulators</a>. In 1965 he composed <a href="/wiki/Mikrophonie_(Stockhausen)" title="Mikrophonie (Stockhausen)">Mikrophonie II</a> for choir, Hammond organ, and ring modulators.<a href="#cite_note-FOOTNOTEStockhausen197151,_57,_66-113">[113]</a> In 1966–1967, <a href="/wiki/Reed_Ghazala" title="Reed Ghazala">Reed Ghazala</a> discovered and began to teach "<a href="/wiki/Circuit_bending" title="Circuit bending">circuit bending</a>"—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 <a href="/wiki/John_Cage" title="John Cage">John Cage</a>'s <a href="/wiki/Aleatoric_music" title="Aleatoric music">aleatoric music</a> [<a href="/wiki/Sic" title="Sic">sic</a>] concept.<a href="#cite_note-circuit-114">[114]</a> <a href="/wiki/Cosey_Fanni_Tutti" title="Cosey Fanni Tutti">Cosey Fanni Tutti</a>'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.<a href="#cite_note-115">[115]</a>[<a href="/wiki/Wikipedia:Verifiability" title="Wikipedia:Verifiability">failed verification</a>] <a href="/wiki/Wendy_Carlos" title="Wendy Carlos">Wendy Carlos</a> performed selections from her album Switched-On Bach on stage with a synthesizer with the <a href="/wiki/St._Louis_Symphony_Orchestra" title="St. Louis Symphony Orchestra">St. Louis Symphony Orchestra</a>; another live performance was with Kurzweil Baroque Ensemble for "Bach at the Beacon" in 1997.<a href="#cite_note-116">[116]</a> In June 2018, <a href="/wiki/Suzanne_Ciani" title="Suzanne Ciani">Suzanne Ciani</a> released LIVE Quadraphonic, 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.<a href="#cite_note-117">[117]</a> <div class="mw-heading mw-heading3"><h3 id="Japanese_instruments">Japanese instruments</h3>[<a href="/w/index.php?title=Electronic_music&action=edit&section=18" title="Edit section: Japanese instruments">edit</a>]</div> <figure typeof="mw:File/Thumb"><a href="/wiki/File:YAMAHA_Electone_D-1.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/3b/YAMAHA_Electone_D-1.jpg/160px-YAMAHA_Electone_D-1.jpg" decoding="async" width="160" height="120" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/3b/YAMAHA_Electone_D-1.jpg/240px-YAMAHA_Electone_D-1.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/3b/YAMAHA_Electone_D-1.jpg/320px-YAMAHA_Electone_D-1.jpg 2x" data-file-width="4032" data-file-height="3024" /></a><figcaption>Early <a href="/wiki/Electronic_organ" class="mw-redirect" title="Electronic organ">electronic organ</a>: Yamaha <a href="/wiki/Electone" title="Electone">Electone</a> D-1 (1959)</figcaption></figure> In the 1950s,<a href="#cite_note-CrodaOrgan2017-118">[118]</a><a href="#cite_note-DiamondDir1993p752-119">[119]</a> Japanese <a href="/wiki/Electronic_musical_instrument" title="Electronic musical instrument">electronic musical instruments</a> began influencing the international <a href="/wiki/Music_industry" title="Music industry">music industry</a>.<a href="#cite_note-Palmieri2004-120">[120]</a><a href="#cite_note-cambridge-121">[121]</a> <a href="/wiki/Ikutaro_Kakehashi" title="Ikutaro Kakehashi">Ikutaro Kakehashi</a>, who founded <a href="/wiki/Ace_Tone" title="Ace Tone">Ace Tone</a> in 1960, developed his own version of electronic percussion that had been already popular on the overseas electronic organ.<a href="#cite_note-sos_roland-122">[122]</a> At the 1964 <a href="/wiki/NAMM_Show" title="NAMM Show">NAMM Show</a>, 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.<a href="#cite_note-sos_roland-122">[122]</a><a href="#cite_note-123">[123]</a><a href="#cite_note-fact2016-124">[124]</a> <figure typeof="mw:File/Thumb"><a href="/wiki/File:KORG_Donca_Matic_DA-20_(1963)_clip1.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/4/42/KORG_Donca_Matic_DA-20_%281963%29_clip1.jpg/120px-KORG_Donca_Matic_DA-20_%281963%29_clip1.jpg" decoding="async" width="120" height="179" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/42/KORG_Donca_Matic_DA-20_%281963%29_clip1.jpg/180px-KORG_Donca_Matic_DA-20_%281963%29_clip1.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/42/KORG_Donca_Matic_DA-20_%281963%29_clip1.jpg/240px-KORG_Donca_Matic_DA-20_%281963%29_clip1.jpg 2x" data-file-width="2622" data-file-height="3921" /></a><figcaption>Early <a href="/wiki/Drum_machine" title="Drum machine">drum machine</a>: <a href="/wiki/Korg" title="Korg">Korg</a> Donca Matic DA-20 (1963)</figcaption></figure> In 1963, <a href="/wiki/Korg" title="Korg">Korg</a> released the <a href="/wiki/List_of_Korg_products#1960s" title="List of Korg products">Donca-Matic DA-20</a>, an electro-mechanical <a href="/wiki/Drum_machine" title="Drum machine">drum machine</a>.<a href="#cite_note-DoncaMatic-125">[125]</a> In 1965, <a href="/wiki/Nippon_Columbia" title="Nippon Columbia">Nippon Columbia</a> patented a fully electronic drum machine.<a href="#cite_note-US3482027-126">[126]</a> Korg released the Donca-Matic DC-11 electronic drum machine in 1966, which they followed with the <a href="/wiki/Korg_Mini_Pops" title="Korg Mini Pops">Korg Mini Pops</a>, which was developed as an option for the <a href="/wiki/Yamaha_Electone" class="mw-redirect" title="Yamaha Electone">Yamaha Electone</a> electric organ.<a href="#cite_note-DoncaMatic-125">[125]</a> Korg's Stageman and Mini Pops series were notable for "natural metallic percussion" sounds and incorporating controls for drum "<a href="/wiki/Break_(music)" title="Break (music)">breaks</a> and <a href="/wiki/Fill_(music)" title="Fill (music)">fill-ins</a>."<a href="#cite_note-cambridge-121">[121]</a> In 1967, Ace Tone founder <a href="/wiki/Ikutaro_Kakehashi" title="Ikutaro Kakehashi">Ikutaro Kakehashi</a> patented a preset rhythm-pattern generator using <a href="/wiki/Diode_matrix" title="Diode matrix">diode matrix</a> circuit<a href="#cite_note-uspat3651241-127">[127]</a> similar to the <a href="/wiki/Seeburg_Corporation" title="Seeburg Corporation">Seeburg</a>'s prior <a rel="nofollow" class="external text" href="https://patents.google.com/patent/US3358068">U.S. patent 3,358,068</a> filed in 1964 (See <a href="/wiki/Drum_machine#History" title="Drum machine">Drum machine#History</a>), which he released as the FR-1 Rhythm Ace drum machine the same year.<a href="#cite_note-sos_roland-122">[122]</a> It offered 16 preset patterns, and four buttons to manually play each instrument sound (<a href="/wiki/Cymbal" title="Cymbal">cymbal</a>, <a href="/wiki/Claves" title="Claves">claves</a>, <a href="/wiki/Cowbell" title="Cowbell">cowbell</a> and <a href="/wiki/Bass_drum" title="Bass drum">bass drum</a>). 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.<a href="#cite_note-sos_roland-122">[122]</a> Ace Tone's Rhythm Ace drum machines found their way into <a href="/wiki/Popular_music" title="Popular music">popular music</a> from the late 1960s, followed by Korg drum machines in the 1970s.<a href="#cite_note-cambridge-121">[121]</a> Kakehashi later left Ace Tone and founded <a href="/wiki/Roland_Corporation" title="Roland Corporation">Roland Corporation</a> in 1972, with <a href="/wiki/Category:Roland_synthesizers" title="Category:Roland synthesizers">Roland synthesizers</a> and <a href="/wiki/Category:Roland_drum_machines" title="Category:Roland drum machines">drum machines</a> becoming highly influential for the next several decades.<a href="#cite_note-sos_roland-122">[122]</a> The company would go on to have a big impact on <a href="/wiki/Popular_music" title="Popular music">popular music</a>, and do more to shape popular electronic music than any other company.<a href="#cite_note-fact2016-124">[124]</a> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Technics_SL-1200MK2-2.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/50/Technics_SL-1200MK2-2.jpg/160px-Technics_SL-1200MK2-2.jpg" decoding="async" width="160" height="102" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/50/Technics_SL-1200MK2-2.jpg/240px-Technics_SL-1200MK2-2.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/50/Technics_SL-1200MK2-2.jpg/320px-Technics_SL-1200MK2-2.jpg 2x" data-file-width="2114" data-file-height="1342" /></a><figcaption><a href="/wiki/Direct-drive_turntable" title="Direct-drive turntable">Direct-drive turntable</a>: <a href="/wiki/Technics_(brand)" title="Technics (brand)">Technics</a> SL-1200 (introduced in 1972)</figcaption></figure> <a href="/wiki/Turntablism" title="Turntablism">Turntablism</a> has origins in the invention of <a href="/wiki/Direct-drive_turntable" title="Direct-drive turntable">direct-drive turntables</a>. Early <a href="/wiki/Belt-drive_turntable" title="Belt-drive turntable">belt-drive turntables</a> 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.<a href="#cite_note-128">[128]</a> The first direct-drive turntable was invented by Shuichi Obata, an engineer at <a href="/wiki/Panasonic" title="Panasonic">Matsushita</a> (now <a href="/wiki/Panasonic" title="Panasonic">Panasonic</a>),<a href="#cite_note-129">[129]</a> based in <a href="/wiki/Osaka" title="Osaka">Osaka</a>, Japan. It eliminated belts, and instead employed a motor to directly drive a platter on which a vinyl record rests.<a href="#cite_note-oxford-130">[130]</a> In 1969, Matsushita released it as the <a href="/wiki/Technics_(brand)" title="Technics (brand)">SP-10</a>,<a href="#cite_note-oxford-130">[130]</a> the first direct-drive turntable on the market,<a href="#cite_note-reverb-131">[131]</a> and the first in their influential <a href="/wiki/Technics_(brand)" title="Technics (brand)">Technics</a> series of turntables.<a href="#cite_note-oxford-130">[130]</a> It was succeeded by the Technics SL-1100 and <a href="/wiki/Technics_SL-1200" title="Technics SL-1200">SL-1200</a> in the early 1970s, and they were widely adopted by <a href="/wiki/Hip_hop_music" title="Hip hop music">hip hop musicians</a>,<a href="#cite_note-oxford-130">[130]</a> with the SL-1200 remaining the most widely used turntable in DJ culture for several decades.<a href="#cite_note-wired-132">[132]</a> <div class="mw-heading mw-heading3"><h3 id="Jamaican_dub_music">Jamaican dub music</h3>[<a href="/w/index.php?title=Electronic_music&action=edit&section=19" title="Edit section: Jamaican dub music">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Dub_music" title="Dub music">Dub music</a></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Sound_system_(Jamaican)" title="Sound system (Jamaican)">Sound system (Jamaican)</a></div> <a href="/wiki/Music_of_Jamaica" title="Music of Jamaica">In Jamaica</a>, a form of popular electronic music emerged in the 1960s, <a href="/wiki/Dub_music" title="Dub music">dub music</a>, rooted in <a href="/wiki/Sound_system_(Jamaican)" title="Sound system (Jamaican)">sound system</a> culture. Dub music was pioneered by studio engineers, such as Sylvan Morris, <a href="/wiki/King_Tubby" title="King Tubby">King Tubby</a>, <a href="/wiki/Errol_Thompson_(audio_engineer)" title="Errol Thompson (audio engineer)">Errol Thompson</a>, <a href="/wiki/Lee_%22Scratch%22_Perry" title="Lee "Scratch" Perry">Lee "Scratch" Perry</a>, and <a href="/wiki/Scientist_(musician)" title="Scientist (musician)">Scientist</a>, producing <a href="/wiki/Reggae" title="Reggae">reggae</a>-influenced <a href="/wiki/Experimental_music" title="Experimental music">experimental music</a> with electronic sound technology, in recording studios and at sound system parties.<a href="#cite_note-veal-133">[133]</a> Their experiments included forms of <a href="/wiki/Tape_music" class="mw-redirect" title="Tape music">tape-based composition</a> comparable to aspects of <a href="/wiki/Musique_concr%C3%A8te" title="Musique concrète">musique concrète</a>, an emphasis on repetitive rhythmic structures (often stripped of their harmonic elements) comparable to <a href="/wiki/Minimal_music" title="Minimal music">minimalism</a>, the electronic manipulation of spatiality, the sonic electronic manipulation of pre-recorded musical materials from mass media, <a href="/wiki/Disc_jockey#Dancehall/reggae_deejays" title="Disc jockey">deejays</a> <a href="/wiki/Toasting_(Jamaican_music)" title="Toasting (Jamaican music)">toasting</a> over pre-recorded music comparable to <a href="/wiki/Live_electronic_music" title="Live electronic music">live electronic music</a>,<a href="#cite_note-veal-133">[133]</a> <a href="/wiki/Remix" title="Remix">remixing</a> music,<a href="#cite_note-cambridge20-134">[134]</a> <a href="/wiki/Turntablism" title="Turntablism">turntablism</a>,<a href="#cite_note-cambridge49-135">[135]</a> and the mixing and scratching of vinyl.<a href="#cite_note-136">[136]</a> 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.<a href="#cite_note-cambridge20-134">[134]</a> King Tubby, for example, was a sound system proprietor and electronics technician, whose small front-room studio in the Waterhouse ghetto of western <a href="/wiki/Kingston,_Jamaica" title="Kingston, Jamaica">Kingston</a> was a key site of dub music creation.<a href="#cite_note-137">[137]</a> <div class="mw-heading mw-heading2"><h2 id="Late_1960s_to_early_1980s">Late 1960s to early 1980s</h2>[<a href="/w/index.php?title=Electronic_music&action=edit&section=20" title="Edit section: Late 1960s to early 1980s">edit</a>]</div> <div class="mw-heading mw-heading3"><h3 id="Rise_of_popular_electronic_music">Rise of popular electronic music</h3>[<a href="/w/index.php?title=Electronic_music&action=edit&section=21" title="Edit section: Rise of popular electronic music">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main articles: <a href="/wiki/Electronic_rock" title="Electronic rock">Electronic rock</a>, <a href="/wiki/Synth-pop" title="Synth-pop">Synth-pop</a>, <a href="/wiki/Electropop" title="Electropop">Electropop</a>, <a href="/wiki/Electro_music" class="mw-redirect" title="Electro music">Electro music</a>, and <a href="/wiki/House_music" title="House music">House music</a></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Progressive_rock" title="Progressive rock">Progressive rock</a>, <a href="/wiki/Krautrock" title="Krautrock">Krautrock</a>, <a href="/wiki/Space_rock" title="Space rock">Space rock</a>, and <a href="/wiki/Contemporary_electronic_music" class="mw-redirect" title="Contemporary electronic music">Contemporary electronic music</a></div> In the late 1960s, pop and rock musicians, including <a href="/wiki/The_Beach_Boys" title="The Beach Boys">the Beach Boys</a> and <a href="/wiki/The_Beatles" title="The Beatles">the Beatles</a>, began to use electronic instruments, like the <a href="/wiki/Theremin" title="Theremin">theremin</a> and <a href="/wiki/Mellotron" title="Mellotron">Mellotron</a>, to supplement and define their sound. The first bands to utilize the <a href="/wiki/Moog_synthesizer" title="Moog synthesizer">Moog synthesizer</a> would be <a href="/wiki/The_Doors" title="The Doors">the Doors</a> on <a href="/wiki/Strange_Days_(Doors_song)" title="Strange Days (Doors song)">Strange Days</a><a href="#cite_note-138">[138]</a> as well as <a href="/wiki/The_Monkees" title="The Monkees">the Monkees</a> on <a href="/wiki/Pisces,_Aquarius,_Capricorn_%26_Jones_Ltd." title="Pisces, Aquarius, Capricorn & Jones Ltd.">Pisces, Aquarius, Capricorn & Jones Ltd</a>. In his book Electronic and Experimental Music, Thom Holmes recognises the Beatles' 1966 recording "<a href="/wiki/Tomorrow_Never_Knows" title="Tomorrow Never Knows">Tomorrow Never Knows</a>" 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.<a href="#cite_note-FOOTNOTEHolmes2012468-139">[139]</a> Also in the late 1960s, the music duos <a href="/wiki/Silver_Apples" title="Silver Apples">Silver Apples</a>, <a href="/wiki/Beaver_and_Krause" class="mw-redirect" title="Beaver and Krause">Beaver and Krause</a>, and experimental rock bands like <a href="/wiki/White_Noise_(band)" title="White Noise (band)">White Noise</a>, <a href="/wiki/The_United_States_of_America_(band)" title="The United States of America (band)">the United States of America</a>, <a href="/wiki/Fifty_Foot_Hose" title="Fifty Foot Hose">Fifty Foot Hose</a>, and <a href="/wiki/Gong_(band)" title="Gong (band)">Gong</a> are regarded as pioneers in the electronic rock and <a href="/wiki/Electronica" title="Electronica">electronica</a> genres for their work in melding psychedelic rock with oscillators and synthesizers.<a href="#cite_note-140">[140]</a><a href="#cite_note-141">[141]</a><a href="#cite_note-142">[142]</a><a href="#cite_note-143">[143]</a><a href="#cite_note-144">[144]</a><a href="#cite_note-145">[145]</a> The 1969 instrumental "<a href="/wiki/Popcorn_(instrumental)" title="Popcorn (instrumental)">Popcorn</a>" written by Gershon Kingsley for Music To Moog By became a worldwide success due to the 1972 version made by <a href="/wiki/Hot_Butter" title="Hot Butter">Hot Butter</a>.<a href="#cite_note-146">[146]</a><a href="#cite_note-147">[147]</a> The Moog synthesizer was brought to the mainstream in 1968 by <a href="/wiki/Switched-On_Bach" title="Switched-On Bach">Switched-On Bach</a>, a bestselling album of Bach compositions arranged for Moog synthesizer by American composer <a href="/wiki/Wendy_Carlos" title="Wendy Carlos">Wendy Carlos</a>. The album achieved critical and commercial success, winning the <a href="/wiki/12th_Annual_Grammy_Awards" title="12th Annual Grammy Awards">1970 Grammy Awards</a> for <a href="/wiki/Grammy_Award_for_Best_Classical_Album" title="Grammy Award for Best Classical Album">Best Classical Album</a>, <a href="/wiki/Grammy_Award_for_Best_Classical_Performance_%E2%80%93_Instrumental_Soloist_or_Soloists_(with_or_without_orchestra)" title="Grammy Award for Best Classical Performance – Instrumental Soloist or Soloists (with or without orchestra)">Best Classical Performance – Instrumental Soloist or Soloists (With or Without Orchestra)</a>, and <a href="/wiki/Grammy_Award_for_Best_Engineered_Album,_Classical" title="Grammy Award for Best Engineered Album, Classical">Best Engineered Classical Recording</a>. In 1969, <a href="/wiki/David_Borden" title="David Borden">David Borden</a> formed the world's first synthesizer ensemble called the <a href="/wiki/Mother_Mallard%27s_Portable_Masterpiece_Company" title="Mother Mallard's Portable Masterpiece Company">Mother Mallard's Portable Masterpiece Company</a> in Ithaca, New York.<a href="#cite_note-148">[148]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Keith_Emerson_StPetersburg_Aug08.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/03/Keith_Emerson_StPetersburg_Aug08.jpg/170px-Keith_Emerson_StPetersburg_Aug08.jpg" decoding="async" width="170" height="217" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/03/Keith_Emerson_StPetersburg_Aug08.jpg/255px-Keith_Emerson_StPetersburg_Aug08.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/03/Keith_Emerson_StPetersburg_Aug08.jpg/340px-Keith_Emerson_StPetersburg_Aug08.jpg 2x" data-file-width="500" data-file-height="639" /></a><figcaption><a href="/wiki/Keith_Emerson" title="Keith Emerson">Keith Emerson</a> performing in Saint Petersburg in 2008</figcaption></figure> By the end of the 1960s, the <a href="/wiki/Moog_synthesizer" title="Moog synthesizer">Moog synthesizer</a> took a leading place in the sound of emerging <a href="/wiki/Progressive_rock" title="Progressive rock">progressive rock</a> with bands including <a href="/wiki/Pink_Floyd" title="Pink Floyd">Pink Floyd</a>, <a href="/wiki/Yes_(band)" title="Yes (band)">Yes</a>, <a href="/wiki/Emerson,_Lake_%26_Palmer" title="Emerson, Lake & Palmer">Emerson, Lake & Palmer</a>, and <a href="/wiki/Genesis_(band)" title="Genesis (band)">Genesis</a> making them part of their sound. Instrumental prog rock was particularly significant in continental Europe, allowing bands like <a href="/wiki/Kraftwerk" title="Kraftwerk">Kraftwerk</a>, <a href="/wiki/Tangerine_Dream" title="Tangerine Dream">Tangerine Dream</a>, <a href="/wiki/Cluster_(band)" title="Cluster (band)">Cluster</a>, <a href="/wiki/Can_(band)" title="Can (band)">Can</a>, <a href="/wiki/Neu!" title="Neu!">Neu!</a>, and <a href="/wiki/Faust_(band)" title="Faust (band)">Faust</a> to circumvent the language barrier.<a href="#cite_note-FOOTNOTEBussy200415–17-149">[149]</a> Their synthesiser-heavy "<a href="/wiki/Krautrock" title="Krautrock">krautrock</a>", along with the work of <a href="/wiki/Brian_Eno" title="Brian Eno">Brian Eno</a> (for a time the keyboard player with <a href="/wiki/Roxy_Music" title="Roxy Music">Roxy Music</a>), would be a major influence on subsequent <a href="/wiki/Electronic_rock" title="Electronic rock">electronic rock</a>.<a href="#cite_note-Bogdanov2002Prog-150">[150]</a> <a href="/wiki/Ambient_dub" class="mw-redirect" title="Ambient dub">Ambient dub</a> was pioneered by King Tubby and other Jamaican <a href="/wiki/Sound_art" title="Sound art">sound artists</a>, using DJ-inspired <a href="/wiki/Ambient_music" title="Ambient music">ambient</a> electronics, complete with drop-outs, echo, equalization and <a href="/wiki/Psychedelic_music" title="Psychedelic music">psychedelic</a> electronic effects. It featured layering techniques and incorporated elements of <a href="/wiki/World_music" title="World music">world music</a>, deep <a href="/wiki/Bassline" title="Bassline">basslines</a> and harmonic sounds.<a href="#cite_note-Holmes2008p403-151">[151]</a> Techniques such as a long echo delay were also used.<a href="#cite_note-152">[152]</a> Other notable artists within the genre include <a href="/wiki/Dreadzone" title="Dreadzone">Dreadzone</a>, <a href="/wiki/Higher_Intelligence_Agency" title="Higher Intelligence Agency">Higher Intelligence Agency</a>, <a href="/wiki/The_Orb" title="The Orb">The Orb</a>, <a href="/wiki/Ott_(record_producer)" title="Ott (record producer)">Ott</a>, <a href="/wiki/Loop_Guru" title="Loop Guru">Loop Guru</a>, <a href="/wiki/Woob" title="Woob">Woob</a> and <a href="/wiki/Transglobal_Underground" title="Transglobal Underground">Transglobal Underground</a>.<a href="#cite_note-ttp-153">[153]</a> Dub music influenced electronic musical techniques later adopted by <a href="/wiki/Hip_hop_music" title="Hip hop music">hip hop music</a> when Jamaican immigrant <a href="/wiki/DJ_Kool_Herc" title="DJ Kool Herc">DJ Kool Herc</a> in the early 1970s introduced Jamaica's sound system culture and dub music techniques to America. One such technique that became popular in <a href="/wiki/Hip_hop" class="mw-redirect" title="Hip hop">hip hop</a> culture was playing two copies of the same record on two turntables in alternation, extending the <a href="/wiki/Breakdancing" title="Breakdancing">b-dancers</a>' favorite section.<a href="#cite_note-154">[154]</a> The turntable eventually went on to become the most visible electronic musical instrument, and occasionally the most <a href="/wiki/Virtuosic" class="mw-redirect" title="Virtuosic">virtuosic</a>, in the 1980s and 1990s.<a href="#cite_note-cambridge49-135">[135]</a> Electronic rock was also produced by several Japanese musicians, including <a href="/wiki/Isao_Tomita" title="Isao Tomita">Isao Tomita</a>'s Electric Samurai: Switched on Rock (1972), which featured Moog synthesizer renditions of contemporary pop and rock songs,<a href="#cite_note-jenkins_2007-155">[155]</a> and <a href="/wiki/Osamu_Kitajima" title="Osamu Kitajima">Osamu Kitajima</a>'s progressive rock album Benzaiten (1974).<a href="#cite_note-Benzaiten-156">[156]</a> The mid-1970s saw the rise of electronic art music musicians such as <a href="/wiki/Jean_Michel_Jarre" class="mw-redirect" title="Jean Michel Jarre">Jean Michel Jarre</a>, <a href="/wiki/Vangelis" title="Vangelis">Vangelis</a>, <a href="/wiki/Isao_Tomita" title="Isao Tomita">Tomita</a> and <a href="/wiki/Klaus_Schulze" title="Klaus Schulze">Klaus Schulze</a> who were significant influences on the development of <a href="/wiki/New-age_music" title="New-age music">new-age music</a>.<a href="#cite_note-Holmes2008p403-151">[151]</a> The hi-tech 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 <a href="/wiki/Space_(French_band)" title="Space (French band)">Space</a> with their debut studio album <a href="/wiki/Magic_Fly" title="Magic Fly">Magic Fly</a><a href="#cite_note-guinness18-157">[157]</a> or Jarre with <a href="/wiki/Oxyg%C3%A8ne" title="Oxygène">Oxygène</a>.<a href="#cite_note-158">[158]</a> Between 1977 and 1981, Kraftwerk released albums such as <a href="/wiki/Trans-Europe_Express_(album)" title="Trans-Europe Express (album)">Trans-Europe Express</a>, <a href="/wiki/The_Man-Machine" title="The Man-Machine">The Man-Machine</a> or <a href="/wiki/Computer_World" title="Computer World">Computer World</a>, which influenced subgenres of electronic music.<a href="#cite_note-159">[159]</a> In this era, the sound of rock musicians like <a href="/wiki/Mike_Oldfield" title="Mike Oldfield">Mike Oldfield</a> and <a href="/wiki/The_Alan_Parsons_Project" title="The Alan Parsons Project">The Alan Parsons Project</a> (who is credited the first rock song to feature a digital <a href="/wiki/Vocoder" title="Vocoder">vocoder</a> in 1975, <a href="/wiki/The_Raven_(song)" title="The Raven (song)">The Raven</a>) used to be arranged and blended with electronic effects and/or music as well, which became much more prominent in the mid-1980s. <a href="/wiki/Jeff_Wayne" title="Jeff Wayne">Jeff Wayne</a> achieved a long-lasting success<a href="#cite_note-160">[160]</a> with his 1978 electronic rock musical version of <a href="/wiki/Jeff_Wayne%27s_Musical_Version_of_The_War_of_the_Worlds" title="Jeff Wayne's Musical Version of The War of the Worlds">The War of the Worlds</a>. <a href="/wiki/Film_score" title="Film score">Film scores</a> also benefit from the electronic sound. During the 1970s and 1980s, Wendy Carlos composed the score for <a href="/wiki/A_Clockwork_Orange_(film)" title="A Clockwork Orange (film)">A Clockwork Orange</a>, <a href="/wiki/The_Shining_(film)" title="The Shining (film)">The Shining</a> and <a href="/wiki/Tron" title="Tron">Tron</a>.<a href="#cite_note-FOOTNOTEHolmes2002162-161">[161]</a> In 1977, <a href="/wiki/Gene_Page" title="Gene Page">Gene Page</a> recorded a disco version of the hit theme by <a href="/wiki/John_Williams" title="John Williams">John Williams</a> from <a href="/wiki/Steven_Spielberg" title="Steven Spielberg">Steven Spielberg</a> film <a href="/wiki/Theme_from_Close_Encounters_of_the_Third_Kind" title="Theme from Close Encounters of the Third Kind">Close Encounters of the Third Kind</a>. Page's version peaked on the <a href="/wiki/R%26B" class="mw-redirect" title="R&B">R&B</a> chart at #30.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>] The score of 1978 film <a href="/wiki/Midnight_Express_(film)" title="Midnight Express (film)">Midnight Express</a> composed by Italian synth-pioneer <a href="/wiki/Giorgio_Moroder" title="Giorgio Moroder">Giorgio Moroder</a> won the <a href="/wiki/Academy_Award_for_Best_Original_Score" title="Academy Award for Best Original Score">Academy Award for Best Original Score</a> in <a href="/wiki/51st_Academy_Awards" title="51st Academy Awards">1979</a>, as did it again in <a href="/wiki/54th_Academy_Awards" title="54th Academy Awards">1981</a> the score by <a href="/wiki/Vangelis" title="Vangelis">Vangelis</a> for <a href="/wiki/Chariots_of_Fire" title="Chariots of Fire">Chariots of Fire</a>.<a href="#cite_note-162">[162]</a> After the arrival of <a href="/wiki/Punk_rock" title="Punk rock">punk rock</a>, a form of basic electronic rock emerged, increasingly using new digital technology to replace other instruments. The American duo <a href="/wiki/Suicide_(band)" title="Suicide (band)">Suicide</a>, who arose from the punk scene in New York, utilized drum machines and synthesizers in a hybrid between electronics and punk on their <a href="/wiki/Suicide_(1977_album)" title="Suicide (1977 album)">eponymous 1977 album</a>.<a href="#cite_note-163">[163]</a> <a href="/wiki/Synth-pop" title="Synth-pop">Synth-pop</a> pioneering bands which enjoyed success for years included <a href="/wiki/Ultravox" title="Ultravox">Ultravox</a> with their 1977 track "Hiroshima Mon Amour" on <a href="/wiki/Ha!-Ha!-Ha!" title="Ha!-Ha!-Ha!">Ha!-Ha!-Ha!</a>,<a href="#cite_note-Maginnis-164">[164]</a> <a href="/wiki/Yellow_Magic_Orchestra" title="Yellow Magic Orchestra">Yellow Magic Orchestra</a> with their <a href="/wiki/Yellow_Magic_Orchestra_(album)" title="Yellow Magic Orchestra (album)">self-titled album</a> (1978), <a href="/wiki/The_Buggles" title="The Buggles">The Buggles</a> with their prominent 1979 debut single <a href="/wiki/Video_Killed_the_Radio_Star" title="Video Killed the Radio Star">Video Killed the Radio Star</a>,<a href="#cite_note-BugglesbyGeoffDownes-165">[165]</a> <a href="/wiki/Gary_Numan" title="Gary Numan">Gary Numan</a> with his solo debut album <a href="/wiki/The_Pleasure_Principle_(album)" title="The Pleasure Principle (album)">The Pleasure Principle</a> and single <a href="/wiki/Cars_(song)" title="Cars (song)">Cars</a> in 1979,<a href="#cite_note-166">[166]</a> <a href="/wiki/Orchestral_Manoeuvres_in_the_Dark" title="Orchestral Manoeuvres in the Dark">Orchestral Manoeuvres in the Dark</a> with their 1979 single <a href="/wiki/Electricity_(Orchestral_Manoeuvres_in_the_Dark_song)" title="Electricity (Orchestral Manoeuvres in the Dark song)">Electricity</a> featured on their <a href="/wiki/Orchestral_Manoeuvres_in_the_Dark_(album)" title="Orchestral Manoeuvres in the Dark (album)">eponymous debut album</a>,<a href="#cite_note-167">[167]</a><a href="#cite_note-168">[168]</a> <a href="/wiki/Depeche_Mode" title="Depeche Mode">Depeche Mode</a> with their first single <a href="/wiki/Dreaming_of_Me" title="Dreaming of Me">Dreaming of Me</a> recorded in 1980 and released in 1981 album <a href="/wiki/Speak_%26_Spell_(album)" title="Speak & Spell (album)">Speak & Spell</a>,<a href="#cite_note-169">[169]</a> <a href="/wiki/A_Flock_of_Seagulls" title="A Flock of Seagulls">A Flock of Seagulls</a> with their 1981 single <a href="/wiki/Talking_(A_Flock_of_Seagulls_song)" title="Talking (A Flock of Seagulls song)">Talking</a>,<a href="#cite_note-170">[170]</a> <a href="/wiki/New_Order_(band)" title="New Order (band)">New Order</a> with <a href="/wiki/Ceremony_(New_Order_song)" title="Ceremony (New Order song)">Ceremony</a><a href="#cite_note-171">[171]</a> in 1981, and <a href="/wiki/The_Human_League" title="The Human League">The Human League</a> with their 1981 hit <a href="/wiki/Don%27t_You_Want_Me" title="Don't You Want Me">Don't You Want Me</a> from their third album <a href="/wiki/Dare_(album)" title="Dare (album)">Dare</a>.<a href="#cite_note-synthpop-172">[172]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:New_Order,_Chile_2019_(39751785423).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/38/New_Order%2C_Chile_2019_%2839751785423%29.jpg/220px-New_Order%2C_Chile_2019_%2839751785423%29.jpg" decoding="async" width="220" height="122" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/38/New_Order%2C_Chile_2019_%2839751785423%29.jpg/330px-New_Order%2C_Chile_2019_%2839751785423%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/38/New_Order%2C_Chile_2019_%2839751785423%29.jpg/440px-New_Order%2C_Chile_2019_%2839751785423%29.jpg 2x" data-file-width="3720" data-file-height="2062" /></a><figcaption>New Order performing in Chile in 2019</figcaption></figure> The definition of <a href="/wiki/MIDI" title="MIDI">MIDI</a> and the development of <a href="/wiki/Digital_audio" title="Digital audio">digital audio</a> made the development of purely electronic sounds much easier,<a href="#cite_note-FOOTNOTERuss200966-173">[173]</a> with <a href="/wiki/Audio_engineer" title="Audio engineer">audio engineers</a>, 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 <a href="/wiki/New_Romantic" title="New Romantic">New Romantic</a> 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.<a href="#cite_note-synthpop-172">[172]</a> Along with the aforementioned successful pioneers, key acts included <a href="/wiki/Yazoo_(band)" title="Yazoo (band)">Yazoo</a>, <a href="/wiki/Duran_Duran" title="Duran Duran">Duran Duran</a>, <a href="/wiki/Spandau_Ballet" title="Spandau Ballet">Spandau Ballet</a>, <a href="/wiki/Culture_Club" title="Culture Club">Culture Club</a>, <a href="/wiki/Talk_Talk" title="Talk Talk">Talk Talk</a>, <a href="/wiki/Japan_(band)" title="Japan (band)">Japan</a>, and <a href="/wiki/Eurythmics" title="Eurythmics">Eurythmics</a>. Synth-pop was taken up across the world, with international hits for acts including <a href="/wiki/Men_Without_Hats" title="Men Without Hats">Men Without Hats</a>, <a href="/wiki/Trans-X" title="Trans-X">Trans-X</a> and <a href="/wiki/Lime_(band)" title="Lime (band)">Lime</a> from Canada, <a href="/wiki/Telex_(band)" title="Telex (band)">Telex</a> from Belgium, <a href="/wiki/Peter_Schilling" title="Peter Schilling">Peter Schilling</a>, <a href="/wiki/Sandra_(singer)" title="Sandra (singer)">Sandra</a>, <a href="/wiki/Modern_Talking" title="Modern Talking">Modern Talking</a>, <a href="/wiki/Propaganda_(band)" title="Propaganda (band)">Propaganda</a> and <a href="/wiki/Alphaville_(band)" title="Alphaville (band)">Alphaville</a> from Germany, <a href="/wiki/Yello" title="Yello">Yello</a> from Switzerland and <a href="/wiki/Azul_y_Negro" title="Azul y Negro">Azul y Negro</a> from Spain. Also, the synth sound is a key feature of <a href="/wiki/Italo-disco" class="mw-redirect" title="Italo-disco">Italo-disco</a>. Some synth-pop bands created futuristic visual styles of themselves to reinforce the idea of electronic sounds were linked primarily with technology, as Americans <a href="/wiki/Devo" title="Devo">Devo</a> and Spaniards <a href="/wiki/Aviador_Dro" title="Aviador Dro">Aviador Dro</a>. Keyboard synthesizers became so common that even <a href="/wiki/Heavy_metal_music" title="Heavy metal music">heavy metal</a> rock bands, a genre often regarded as the opposite in aesthetics, sound and lifestyle from that of electronic pop artists by fans of both sides, achieved worldwide success with themes as 1983 <a href="/wiki/Jump_(Van_Halen_song)" title="Jump (Van Halen song)">Jump</a><a href="#cite_note-174">[174]</a> by <a href="/wiki/Van_Halen" title="Van Halen">Van Halen</a> and 1986 <a href="/wiki/The_Final_Countdown_(song)" title="The Final Countdown (song)">The Final Countdown</a><a href="#cite_note-175">[175]</a> by <a href="/wiki/Europe_(band)" title="Europe (band)">Europe</a>, which feature synths prominently. <div class="mw-heading mw-heading3"><h3 id="Proliferation_of_electronic_music_research_institutions">Proliferation of electronic music research institutions</h3>[<a href="/w/index.php?title=Electronic_music&action=edit&section=22" title="Edit section: Proliferation of electronic music research institutions">edit</a>]</div> <a href="/w/index.php?title=Elektronmusikstudion&action=edit&redlink=1" class="new" title="Elektronmusikstudion (page does not exist)">Elektronmusikstudion</a> [<a href="https://sv.wikipedia.org/wiki/Elektronmusikstudion" class="extiw" title="sv:Elektronmusikstudion">sv</a>] (EMS), formerly known as Electroacoustic Music in Sweden, is the Swedish national centre for electronic music and <a href="/wiki/Sound_art" title="Sound art">sound art</a>. The research organisation started in 1964 and is based in Stockholm. <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:L%27%C3%A9t%C3%A9_%C3%A0_Paris_(9276072323).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f4/L%27%C3%A9t%C3%A9_%C3%A0_Paris_%289276072323%29.jpg/220px-L%27%C3%A9t%C3%A9_%C3%A0_Paris_%289276072323%29.jpg" decoding="async" width="220" height="165" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f4/L%27%C3%A9t%C3%A9_%C3%A0_Paris_%289276072323%29.jpg/330px-L%27%C3%A9t%C3%A9_%C3%A0_Paris_%289276072323%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f4/L%27%C3%A9t%C3%A9_%C3%A0_Paris_%289276072323%29.jpg/440px-L%27%C3%A9t%C3%A9_%C3%A0_Paris_%289276072323%29.jpg 2x" data-file-width="1355" data-file-height="1015" /></a><figcaption>IRCAM at the Place Igor Stravinsky, Paris</figcaption></figure> <a href="/wiki/STEIM" title="STEIM">STEIM</a> (1969-2021) was a center for <a href="/wiki/Experimental_musical_instrument" title="Experimental musical instrument">research and development of new musical instruments</a> in the electronic performing arts, located in Amsterdam, Netherlands. It was founded by <a href="/wiki/Misha_Mengelberg" title="Misha Mengelberg">Misha Mengelberg</a>, <a href="/wiki/Louis_Andriessen" title="Louis Andriessen">Louis Andriessen</a>, <a href="/wiki/Peter_Schat" title="Peter Schat">Peter Schat</a>, <a href="/wiki/Dick_Raaymakers" class="mw-redirect" title="Dick Raaymakers">Dick Raaymakers</a>, <a href="/w/index.php?title=Jan_van_Vlijmen&action=edit&redlink=1" class="new" title="Jan van Vlijmen (page does not exist)">Jan van Vlijmen</a> [<a href="https://nl.wikipedia.org/wiki/Jan_van_Vlijmen" class="extiw" title="nl:Jan van Vlijmen">nl</a>], <a href="/wiki/Reinbert_de_Leeuw" title="Reinbert de Leeuw">Reinbert de Leeuw</a>, and <a href="/wiki/Konrad_Boehmer" title="Konrad Boehmer">Konrad Boehmer</a>. 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, <a href="/wiki/Michel_Waisvisz" title="Michel Waisvisz">Michel Waisvisz</a> was artistic director, and his live-electronic instruments like the <a href="/wiki/Kraakdoos" title="Kraakdoos">Cracklebox</a> or The Hands inspired international artists to work at STEIM which entertained a residency program since 1992. <a href="/wiki/IRCAM" title="IRCAM">IRCAM</a> in Paris became a major center for computer music research and realization and development of the <a href="/wiki/Sogitec_4X" title="Sogitec 4X">Sogitec 4X</a> computer system,<a href="#cite_note-Schutterhoef2007-176">[176]</a> featuring then revolutionary real-time digital signal processing. <a href="/wiki/Pierre_Boulez" title="Pierre Boulez">Pierre Boulez</a>'s <a href="/wiki/R%C3%A9pons" title="Répons">Répons</a> (1981) for 24 musicians and 6 soloists used the 4X to transform and route soloists to a loudspeaker system. <a href="/wiki/Barry_Vercoe" title="Barry Vercoe">Barry Vercoe</a> describes one of his experiences with early computer sounds: <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:IRCAM_4X.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/06/IRCAM_4X.jpg/220px-IRCAM_4X.jpg" decoding="async" width="220" height="142" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/06/IRCAM_4X.jpg/330px-IRCAM_4X.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/06/IRCAM_4X.jpg/440px-IRCAM_4X.jpg 2x" data-file-width="1553" data-file-height="999" /></a><figcaption><a href="/wiki/Sogitec_4X" title="Sogitec 4X">Sogitec 4X</a> (c. 1983)<a href="#cite_note-177">[177]</a> at IRCAM machine room in 1989</figcaption></figure> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712"><blockquote class="templatequote">At IRCAM in Paris in 1982, flutist <a href="/wiki/Larry_Beauregard" title="Larry Beauregard">Larry Beauregard</a> had connected his flute to DiGiugno's <a href="/wiki/Sogitec_4X" title="Sogitec 4X">4X</a> audio processor, enabling real-time pitch-following. On a <a href="/wiki/Guggenheim_Fellowship" title="Guggenheim Fellowship">Guggenheim</a> 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 <a href="/wiki/Handel" class="mw-redirect" title="Handel">Handel</a> flute sonatas, <a href="/wiki/Boulez" class="mw-redirect" title="Boulez">Boulez</a>'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 <a href="/wiki/Max_(software)" title="Max (software)">MAX</a>.<a href="#cite_note-FOOTNOTEVercoe2000xxviii–xxix-178">[178]</a></blockquote> <div class="mw-heading mw-heading3"><h3 id="Keyboard_synthesizers">Keyboard synthesizers</h3>[<a href="/w/index.php?title=Electronic_music&action=edit&section=23" title="Edit section: Keyboard synthesizers">edit</a>]</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Minimoog.JPG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/22/Minimoog.JPG/220px-Minimoog.JPG" decoding="async" width="220" height="127" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/22/Minimoog.JPG/330px-Minimoog.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/22/Minimoog.JPG/440px-Minimoog.JPG 2x" data-file-width="2384" data-file-height="1376" /></a><figcaption>Mini-Moog synthesizer</figcaption></figure> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Modular_synthesizer" title="Modular synthesizer">Modular synthesizer</a>, <a href="/wiki/Buchla" class="mw-redirect" title="Buchla">Buchla</a>, <a href="/wiki/Electronic_Music_Studios" title="Electronic Music Studios">Electronic Music Studios</a>, and <a href="/wiki/Korg" title="Korg">Korg</a></div> Released in 1970 by <a href="/wiki/Moog_Music" title="Moog Music">Moog Music</a>, the <a href="/wiki/Minimoog" title="Minimoog">Mini-Moog</a> 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.<a href="#cite_note-179">[179]</a> <a href="/wiki/Patrick_Gleeson" title="Patrick Gleeson">Patrick Gleeson</a>, playing live with <a href="/wiki/Herbie_Hancock" title="Herbie Hancock">Herbie Hancock</a> 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.<a href="#cite_note-FOOTNOTEZussman1982[httpsbooksgooglecombooksidMjAEAAAAMBAJpgPA1_1,_5]-180">[180]</a><a href="#cite_note-181">[181]</a> In 1974, the <a href="/wiki/Studio_for_Electronic_Music_(WDR)" title="Studio for Electronic Music (WDR)">WDR</a> studio in Cologne acquired an <a href="/wiki/EMS_Synthi_100" title="EMS Synthi 100">EMS Synthi 100</a> synthesizer, which many composers used to produce notable electronic works—including <a href="/wiki/Rolf_Gehlhaar" title="Rolf Gehlhaar">Rolf Gehlhaar</a>'s Fünf deutsche Tänze (1975), Karlheinz Stockhausen's <a href="/wiki/Sirius_(Stockhausen)" title="Sirius (Stockhausen)">Sirius</a> (1975–1976), and <a href="/wiki/John_McGuire_(composer)" title="John McGuire (composer)">John McGuire</a>'s Pulse Music III (1978).<a href="#cite_note-FOOTNOTEMorawska-Büngeler198852,_55,_107–108-182">[182]</a> Thanks to <a href="/wiki/Miniaturization" title="Miniaturization">miniaturization of electronics</a> 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 "<a href="/wiki/Cable_management" title="Cable management">cable spaguetty</a>" employed along with the 1960s and 1970s. First, with analog synthesizers, the trend followed with digital synthesizers and samplers as well (see below). <div class="mw-heading mw-heading3"><h3 id="Digital_synthesizers">Digital synthesizers</h3>[<a href="/w/index.php?title=Electronic_music&action=edit&section=24" title="Edit section: Digital synthesizers">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Digital_synthesizer" title="Digital synthesizer">Digital synthesizer</a>, <a href="/wiki/Digitally_controlled_oscillator" title="Digitally controlled oscillator">Digitally controlled oscillator</a>, <a href="/wiki/Additive_synthesis#Implementations" title="Additive synthesis">Additive synthesis § Implementations</a>, <a href="/wiki/Subtractive_synthesis" title="Subtractive synthesis">Subtractive synthesis</a>, <a href="/wiki/Phase_distortion_synthesis" title="Phase distortion synthesis">Phase distortion synthesis</a>, and <a href="/wiki/Bell_Labs_Digital_Synthesizer" title="Bell Labs Digital Synthesizer">Bell Labs Digital Synthesizer</a></div> In 1975, the Japanese company <a href="/wiki/Yamaha_Corporation" title="Yamaha Corporation">Yamaha</a> licensed the algorithms for <a href="/wiki/Frequency_modulation_synthesis" title="Frequency modulation synthesis">frequency modulation synthesis</a> (FM synthesis) from <a href="/wiki/John_Chowning" title="John Chowning">John Chowning</a>, who had experimented with it at <a href="/wiki/Stanford_University" title="Stanford University">Stanford University</a> since 1971.<a href="#cite_note-holmes_257-183">[183]</a><a href="#cite_note-FOOTNOTEChowning1973-184">[184]</a> 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 <a href="/wiki/Frequency_modulation" title="Frequency modulation">frequency modulation</a>.<a href="#cite_note-FOOTNOTEHolmes2008257–258-185">[185]</a> In 1980, Yamaha eventually released the first FM digital synthesizer, the Yamaha GS-1, but at an expensive price.<a href="#cite_note-FOOTNOTERoads1996226-186">[186]</a> In 1983, Yamaha introduced the first stand-alone digital synthesizer, the <a href="/wiki/Yamaha_DX7" title="Yamaha DX7">DX7</a>, which also used FM synthesis and would become one of the best-selling synthesizers of all time.<a href="#cite_note-holmes_257-183">[183]</a> The DX7 was known for its recognizable bright tonalities that was partly due to an <a href="/wiki/Oversampling" title="Oversampling">overachieving</a> <a href="/wiki/Sampling_rate" class="mw-redirect" title="Sampling rate">sampling rate</a> of 57 kHz.<a href="#cite_note-FOOTNOTEHolmes2008258–259-187">[187]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:YAMAHA_DX7.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/03/YAMAHA_DX7.jpg/220px-YAMAHA_DX7.jpg" decoding="async" width="220" height="75" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/03/YAMAHA_DX7.jpg/330px-YAMAHA_DX7.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/03/YAMAHA_DX7.jpg/440px-YAMAHA_DX7.jpg 2x" data-file-width="1535" data-file-height="521" /></a><figcaption><a href="/wiki/Yamaha_DX7" title="Yamaha DX7">Yamaha DX7</a>, a model for many digital synthesizers of the 1980s</figcaption></figure> The <a href="/wiki/Korg_Poly-800" title="Korg Poly-800">Korg Poly-800</a> is a synthesizer released by <a href="/wiki/Korg" title="Korg">Korg</a> 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 <a href="/wiki/Polyphony" title="Polyphony">polyphony</a> with one <a href="/wiki/Digitally_controlled_oscillator" title="Digitally controlled oscillator">Digitally controlled oscillator</a> (DCO) per voice. The <a href="/wiki/Casio_CZ_synthesizers#CZ-101" title="Casio CZ synthesizers">Casio CZ-101</a> was the first and best-selling <a href="/wiki/Phase_distortion_synthesis" title="Phase distortion synthesis">phase distortion</a> synthesizer in the <a href="/wiki/Casio" title="Casio">Casio</a> <a href="/wiki/Casio_CZ_synthesizers" title="Casio CZ synthesizers">CZ</a> 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. The <a href="/wiki/Roland_D-50" title="Roland D-50">Roland D-50</a> is a digital synthesizer produced by <a href="/wiki/Roland_Corporation" title="Roland Corporation">Roland</a> and released in April 1987. Its features include <a href="/wiki/Subtractive_synthesis" title="Subtractive synthesis">subtractive synthesis</a>, 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. <div class="mw-heading mw-heading3"><h3 id="Samplers">Samplers</h3>[<a href="/w/index.php?title=Electronic_music&action=edit&section=25" title="Edit section: Samplers">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Sampling_(music)" title="Sampling (music)">Sampling (music)</a>, <a href="/wiki/Fairlight_CMI" title="Fairlight CMI">Fairlight CMI</a>, and <a href="/wiki/Synclavier" title="Synclavier">Synclavier</a></div> A <a href="/wiki/Sampler_(musical_instrument)" title="Sampler (musical instrument)">sampler</a> is an electronic or digital <a href="/wiki/Musical_instrument" title="Musical instrument">musical instrument</a> which uses <a href="/wiki/Sound_recording" class="mw-redirect" title="Sound recording">sound recordings</a> (or "<a href="/wiki/Sampling_(music)" title="Sampling (music)">samples</a>") of real instrument sounds (e.g., a piano, violin or trumpet), excerpts from recorded songs (e.g., a five-second bass guitar <a href="/wiki/Riff" title="Riff">riff</a> from a <a href="/wiki/Funk" title="Funk">funk</a> song) or <a href="/wiki/Found_sound" class="mw-redirect" title="Found sound">found sounds</a> (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 <a href="/wiki/MIDI_keyboard" title="MIDI keyboard">MIDI keyboard</a>, <a href="/wiki/Music_sequencer" title="Music sequencer">sequencer</a> or another triggering device (e.g., <a href="/wiki/Electronic_drums" class="mw-redirect" title="Electronic drums">electronic drums</a>) 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 <a href="/wiki/Pitch_shift" class="mw-redirect" title="Pitch shift">pitch-shifted</a> to different pitches to produce musical <a href="/wiki/Scale_(music)" title="Scale (music)">scales</a> and <a href="/wiki/Chord_(music)" title="Chord (music)">chords</a>. <figure typeof="mw:File/Thumb"><a href="/wiki/File:Fairlight_green_screen.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/c/c8/Fairlight_green_screen.jpg/152px-Fairlight_green_screen.jpg" decoding="async" width="152" height="152" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/c8/Fairlight_green_screen.jpg/228px-Fairlight_green_screen.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/c8/Fairlight_green_screen.jpg/304px-Fairlight_green_screen.jpg 2x" data-file-width="612" data-file-height="612" /></a><figcaption>Fairlight CMI (1979–)</figcaption></figure> 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 <a href="/wiki/Mellotron" title="Mellotron">Mellotron</a> 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 the instrument. The emergence of the <a href="/wiki/Digital_signal_processing" title="Digital signal processing">digital</a> sampler made sampling far more practical. The earliest digital sampling was done on the <a href="/wiki/Electronic_Music_Studios" title="Electronic Music Studios">EMS</a> Musys system, developed by Peter Grogono (software), David Cockerell (hardware and interfacing), and <a href="/wiki/Peter_Zinovieff" title="Peter Zinovieff">Peter Zinovieff</a> (system design and operation) at their London (Putney) Studio c. 1969. The first commercially available sampling synthesizer was the <a href="/wiki/Sampler_(musical_instrument)#Computer_Music_Melodian" title="Sampler (musical instrument)">Computer Music Melodian</a> by <a href="/wiki/Harry_Mendell" title="Harry Mendell">Harry Mendell</a> (1976). First released in 1977–1978,<a href="#cite_note-dartmouth-188">[188]</a> the <a href="/wiki/Synclavier#Synclavier_I" title="Synclavier">Synclavier I</a> using <a href="/wiki/FM_synthesis" class="mw-redirect" title="FM synthesis">FM synthesis</a>, re-licensed from <a href="/wiki/Yamaha_Corporation" title="Yamaha Corporation">Yamaha</a>,<a href="#cite_note-189">[189]</a> and sold mostly to universities, proved to be highly influential among both electronic music composers and music producers, including <a href="/wiki/Mike_Thorne" title="Mike Thorne">Mike Thorne</a>, an early adopter from the commercial world, due to its versatility, its cutting-edge technology, and distinctive sounds. The first polyphonic digital sampling synthesizer was the Australian-produced <a href="/wiki/Fairlight_CMI" title="Fairlight CMI">Fairlight CMI</a>, first available in 1979. These early sampling synthesizers used wavetable <a href="/wiki/Sample-based_synthesis" title="Sample-based synthesis">sample-based synthesis</a>.<a href="#cite_note-russ-190">[190]</a> <div class="mw-heading mw-heading3"><h3 id="Birth_of_MIDI">Birth of MIDI</h3>[<a href="/w/index.php?title=Electronic_music&action=edit&section=26" title="Edit section: Birth of MIDI">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/MIDI" title="MIDI">MIDI</a></div> 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 (<a href="/wiki/MIDI" title="MIDI">MIDI</a>) and resulted from a collaboration between leading manufacturers, initially <a href="/wiki/Sequential_Circuits" class="mw-redirect" title="Sequential Circuits">Sequential Circuits</a>, <a href="/wiki/Oberheim_Electronics" title="Oberheim Electronics">Oberheim</a>, <a href="/wiki/Roland_Corporation" title="Roland Corporation">Roland</a>—and later, other participants that included <a href="/wiki/Yamaha_Corporation" title="Yamaha Corporation">Yamaha</a>, <a href="/wiki/Korg" title="Korg">Korg</a>, and <a href="/wiki/Kawai_(company)" class="mw-redirect" title="Kawai (company)">Kawai</a>.<a href="#cite_note-FOOTNOTEHolmes2008227-191">[191]</a> A paper was authored by <a href="/wiki/Dave_Smith_(engineer)" title="Dave Smith (engineer)">Dave Smith</a> of Sequential Circuits and proposed to the <a href="/wiki/Audio_Engineering_Society" title="Audio Engineering Society">Audio Engineering Society</a> in 1981. Then, in August 1983, the MIDI Specification 1.0 was finalized. 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. MIDI instruments and software made powerful control of sophisticated instruments easily affordable by many studios and individuals. Acoustic sounds became reintegrated into studios via <a href="/wiki/Sampling_(music)" title="Sampling (music)">sampling</a> and sampled-ROM-based instruments. <a href="/wiki/Miller_Puckette" title="Miller Puckette">Miller Puckette</a> developed graphic signal-processing software for <a href="/wiki/Sogitec_4X" title="Sogitec 4X">4X</a> called <a href="/wiki/Max_(software)" title="Max (software)">Max</a> (after <a href="/wiki/Max_Mathews" title="Max Mathews">Max Mathews</a>) and later ported it to <a href="/wiki/Apple_Macintosh" class="mw-redirect" title="Apple Macintosh">Macintosh</a> (with Dave Zicarelli extending it for <a href="/wiki/Opcode_Systems" title="Opcode Systems">Opcode</a>)<a href="#cite_note-192">[192]</a> for real-time MIDI control, bringing algorithmic composition availability to most composers with modest computer programming background. <div class="mw-heading mw-heading3"><h3 id="Sequencers_and_drum_machines">Sequencers and drum machines</h3>[<a href="/w/index.php?title=Electronic_music&action=edit&section=27" title="Edit section: Sequencers and drum machines">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main articles: <a href="/wiki/Music_sequencer" title="Music sequencer">Music sequencer</a> and <a href="/wiki/Drum_machine" title="Drum machine">Drum machine</a></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1251242444"><table class="box-Disputed plainlinks metadata ambox ambox-content ambox-disputed" role="presentation"><tbody><tr><td class="mbox-image"><div class="mbox-image-div"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/1/17/System-search.svg/45px-System-search.svg.png" decoding="async" width="45" height="45" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/17/System-search.svg/68px-System-search.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/17/System-search.svg/90px-System-search.svg.png 2x" data-file-width="48" data-file-height="48" /></div></td><td class="mbox-text"><div class="mbox-text-span">This article's factual accuracy is <a href="/wiki/Wikipedia:Accuracy_dispute" title="Wikipedia:Accuracy dispute">disputed</a>. Relevant discussion may be found on the <a href="/wiki/Talk:Electronic_music#section" title="Talk:Electronic music">talk page</a>. Please help to ensure that disputed statements are <a href="/wiki/Wikipedia:Reliable_sources" title="Wikipedia:Reliable sources">reliably sourced</a>. (December 2011) (<a href="/wiki/Help:Maintenance_template_removal" title="Help:Maintenance template removal">Learn how and when to remove this message</a>)</div></td></tr></tbody></table> The early 1980s saw the rise of <a href="/wiki/Bass_synthesizer" class="mw-redirect" title="Bass synthesizer">bass synthesizers</a>, the most influential being the <a href="/wiki/Roland_TB-303" title="Roland TB-303">Roland TB-303</a>, a bass synthesizer and <a href="/wiki/Music_sequencer" title="Music sequencer">sequencer</a> released in late 1981 that later became a fixture in <a href="/wiki/Electronic_dance_music" title="Electronic dance music">electronic dance music</a>,<a href="#cite_note-FOOTNOTEVine2011-193">[193]</a> particularly <a href="/wiki/Acid_house" title="Acid house">acid house</a>.<a href="#cite_note-guardian_2011-194">[194]</a> One of the first to use it was <a href="/wiki/Charanjit_Singh_(musician)" title="Charanjit Singh (musician)">Charanjit Singh</a> in 1982, though it would not be popularized until <a href="/wiki/Phuture" title="Phuture">Phuture</a>'s "<a href="/wiki/Acid_Tracks" title="Acid Tracks">Acid Tracks</a>" in 1987.<a href="#cite_note-guardian_2011-194">[194]</a> <a href="/wiki/Music_sequencer" title="Music sequencer">Music sequencers</a> began being used around the mid 20th century, and Tomita's albums in mid-1970s being later examples.<a href="#cite_note-jenkins_2007-155">[155]</a> In 1978, Yellow Magic Orchestra were using computer-based technology in conjunction with a synthesiser to produce popular music,<a href="#cite_note-billboard_1979-195">[195]</a> making their early use of the <a href="/wiki/Microprocessor" title="Microprocessor">microprocessor</a>-based <a href="/wiki/Roland_MC-8_Microcomposer" title="Roland MC-8 Microcomposer">Roland MC-8 Microcomposer</a> sequencer.<a href="#cite_note-discogs_ymo_lp-196">[196]</a><a href="#cite_note-197">[197]</a>[<a href="/wiki/Wikipedia:Verifiability" title="Wikipedia:Verifiability">failed verification</a>] <a href="/wiki/Drum_machine" title="Drum machine">Drum machines</a>, also known as rhythm machines, also began being used around the late-1950s, with a later example being <a href="/wiki/Osamu_Kitajima" title="Osamu Kitajima">Osamu Kitajima</a>'s progressive rock album Benzaiten (1974), which used a rhythm machine along with <a href="/wiki/Electronic_drum" title="Electronic drum">electronic drums</a> and a synthesizer.<a href="#cite_note-Benzaiten-156">[156]</a> In 1977, <a href="/wiki/Ultravox" title="Ultravox">Ultravox</a>'s "<a href="/wiki/Hiroshima_Mon_Amour_(song)" class="mw-redirect" title="Hiroshima Mon Amour (song)">Hiroshima Mon Amour</a>" was one of the first singles to use the <a href="/wiki/Metronome" title="Metronome">metronome</a>-like percussion of a <a href="/wiki/Roland_TR-77" class="mw-redirect" title="Roland TR-77">Roland TR-77</a> drum machine.<a href="#cite_note-Maginnis-164">[164]</a> In 1980, <a href="/wiki/Roland_Corporation" title="Roland Corporation">Roland Corporation</a> released the <a href="/wiki/Roland_TR-808" title="Roland TR-808">TR-808</a>, one of the first and most popular programmable <a href="/wiki/Drum_machine" title="Drum machine">drum machines</a>. The first band to use it was Yellow Magic Orchestra in 1980, and it would later gain widespread popularity with the release of <a href="/wiki/Marvin_Gaye" title="Marvin Gaye">Marvin Gaye</a>'s "<a href="/wiki/Sexual_Healing" title="Sexual Healing">Sexual Healing</a>" and <a href="/wiki/Afrika_Bambaataa" title="Afrika Bambaataa">Afrika Bambaataa</a>'s "<a href="/wiki/Planet_Rock_(song)" title="Planet Rock (song)">Planet Rock</a>" in 1982.<a href="#cite_note-FOOTNOTEAnderson2008-198">[198]</a> 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 <a href="/wiki/Derrick_May_(musician)" title="Derrick May (musician)">Derrick May</a> and <a href="/wiki/Juan_Atkins" title="Juan Atkins">Juan Atkins</a>.<a href="#cite_note-Blashill-199">[199]</a> <div class="mw-heading mw-heading3"><h3 id="Chiptunes">Chiptunes</h3>[<a href="/w/index.php?title=Electronic_music&action=edit&section=28" title="Edit section: Chiptunes">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Chiptune" title="Chiptune">Chiptune</a></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Video_game_music" title="Video game music">Video game music</a></div> The characteristic lo-fi sound of chip music was initially the result of early computer's <a href="/wiki/Sound_chip" title="Sound chip">sound chips</a> and <a href="/wiki/Sound_card" title="Sound card">sound cards</a>' technical limitations; however, the sound has since become sought after in its own right. Common cheap popular sound chips of the first <a href="/wiki/Home_computer" title="Home computer">home computers</a> of the 1980s include the <a href="/wiki/MOS_Technology_SID" class="mw-redirect" title="MOS Technology SID">SID</a> of the <a href="/wiki/Commodore_64" title="Commodore 64">Commodore 64</a> and <a href="/wiki/General_Instrument_AY-3-8912" class="mw-redirect" title="General Instrument AY-3-8912">General Instrument AY</a> series and clones (like the Yamaha YM2149) used in the <a href="/wiki/ZX_Spectrum" title="ZX Spectrum">ZX Spectrum</a>, <a href="/wiki/Amstrad_CPC" title="Amstrad CPC">Amstrad CPC</a>, <a href="/wiki/MSX" title="MSX">MSX</a> compatibles and <a href="/wiki/Atari_ST" title="Atari ST">Atari ST</a> models, among others. <div class="mw-heading mw-heading2"><h2 id="Late_1980s_to_1990s">Late 1980s to 1990s</h2>[<a href="/w/index.php?title=Electronic_music&action=edit&section=29" title="Edit section: Late 1980s to 1990s">edit</a>]</div> <div class="mw-heading mw-heading3"><h3 id="Rise_of_dance_music">Rise of dance music</h3>[<a href="/w/index.php?title=Electronic_music&action=edit&section=30" title="Edit section: Rise of dance music">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Electronic_dance_music" title="Electronic dance music">Electronic dance music</a></div> 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 <a href="/wiki/Pet_Shop_Boys" title="Pet Shop Boys">Pet Shop Boys</a>, <a href="/wiki/Erasure_(duo)" title="Erasure (duo)">Erasure</a> and <a href="/wiki/The_Communards" title="The Communards">The Communards</a>, achieving success along much of the 1990s. 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,<a href="#cite_note-200">[200]</a> websites,<a href="#cite_note-201">[201]</a> and publications like <a href="/wiki/Mixmag" title="Mixmag">Mixmag</a> 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 <a href="/wiki/Dance-pop" title="Dance-pop">dance-pop</a>, <a href="/wiki/House_music" title="House music">house</a>, <a href="/wiki/Techno" title="Techno">techno</a>, <a href="/wiki/Electro_(music)" title="Electro (music)">electro</a>, and <a href="/wiki/Trance_music" title="Trance music">trance</a>, as well as their respective subgenres.<a href="#cite_note-genres-202">[202]</a><a href="#cite_note-burgess115-203">[203]</a><a href="#cite_note-armada-204">[204]</a> Moreover, the genre has found commercial and cultural significance in the United States and North America, thanks to the wildly popular <a href="/wiki/Big_room_house" title="Big room house">big room house</a>/EDM sound that has been incorporated into the U.S. pop music<a href="#cite_note-205">[205]</a> and the rise of large-scale commercial <a href="/wiki/Rave" title="Rave">raves</a> such as <a href="/wiki/Electric_Daisy_Carnival" title="Electric Daisy Carnival">Electric Daisy Carnival</a>, <a href="/wiki/Tomorrowland_(festival)" title="Tomorrowland (festival)">Tomorrowland</a> and <a href="/wiki/Ultra_Music_Festival" title="Ultra Music Festival">Ultra Music Festival</a>. <div class="mw-heading mw-heading3"><h3 id="Electronica">Electronica</h3>[<a href="/w/index.php?title=Electronic_music&action=edit&section=31" title="Edit section: Electronica">edit</a>]</div> On the other hand, a broad group of electronic-based music styles intended for listening rather than strictly for dancing became known under the "<a href="/wiki/Electronica" title="Electronica">electronica</a>" umbrella<a href="#cite_note-206">[206]</a><a href="#cite_note-bogdanov-207">[207]</a> which was also a music scene in the early 1990s in the United Kingdom.<a href="#cite_note-bogdanov-207">[207]</a> According to a 1997 <a href="/wiki/Billboard_(magazine)" title="Billboard (magazine)">Billboard</a> article, "the union of the <a href="/wiki/Nightclub" title="Nightclub">club</a> community and <a href="/wiki/Independent_record_label" title="Independent record label">independent labels</a>" provided the experimental and trend-setting environment in which electronica acts developed and eventually reached the mainstream, citing American labels such as <a href="/wiki/Astralwerks" title="Astralwerks">Astralwerks</a> (<a href="/wiki/The_Chemical_Brothers" title="The Chemical Brothers">the Chemical Brothers</a>, <a href="/wiki/Fatboy_Slim" title="Fatboy Slim">Fatboy Slim</a>, <a href="/wiki/The_Future_Sound_of_London" title="The Future Sound of London">the Future Sound of London</a>, <a href="/wiki/Fluke_(band)" title="Fluke (band)">Fluke</a>), <a href="/wiki/Moonshine_Music" title="Moonshine Music">Moonshine</a> (<a href="/wiki/DJ_Keoki" title="DJ Keoki">DJ Keoki</a>), <a href="/wiki/Sims_Records" title="Sims Records">Sims</a>, <a href="/wiki/Daft_Punk" title="Daft Punk">Daft Punk</a> and City of Angels (<a href="/wiki/The_Crystal_Method" title="The Crystal Method">the Crystal Method</a>) for popularizing the latest version of electronic music.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>] <div class="mw-heading mw-heading3"><h3 id="Indie_electronic">Indie electronic</h3>[<a href="/w/index.php?title=Electronic_music&action=edit&section=32" title="Edit section: Indie electronic">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Indie_music" class="mw-redirect" title="Indie music">Indie music</a></div> The category "indie electronic" (or "indietronica")<a href="#cite_note-branco-208">[208]</a> has been used to refer to a wave of groups with roots in <a href="/wiki/Independent_rock" class="mw-redirect" title="Independent rock">independent rock</a> 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.<a href="#cite_note-indieelectronic-209">[209]</a> Recordings are commonly made on <a href="/wiki/Laptop" title="Laptop">laptops</a> using <a href="/wiki/Digital_audio_workstation" title="Digital audio workstation">digital audio workstations</a>.<a href="#cite_note-branco-208">[208]</a> The first wave of indie electronic artists began in the 1990s with acts such as <a href="/wiki/Stereolab" title="Stereolab">Stereolab</a> (who used vintage gear) and <a href="/wiki/Disco_Inferno_(band)" title="Disco Inferno (band)">Disco Inferno</a> (who embraced modern sampling technology), and the genre expanded in the 2000s as <a href="/wiki/Home_recording" title="Home recording">home recording</a> and <a href="/wiki/Software_synthesizers" class="mw-redirect" title="Software synthesizers">software synthesizers</a> came into common use.<a href="#cite_note-indieelectronic-209">[209]</a> Other acts included <a href="/wiki/Broadcast_(band)" title="Broadcast (band)">Broadcast</a>, <a href="/wiki/Lali_Puna" title="Lali Puna">Lali Puna</a>, <a href="/wiki/M%C3%BAm" title="Múm">Múm</a>, <a href="/wiki/The_Postal_Service" title="The Postal Service">the Postal Service</a>, <a href="/wiki/Skeletons_(band)" title="Skeletons (band)">Skeletons</a>, and <a href="/wiki/School_of_Seven_Bells" title="School of Seven Bells">School of Seven Bells</a>.<a href="#cite_note-indieelectronic-209">[209]</a> Independent labels associated with the style include <a href="/wiki/Warp_Records" title="Warp Records">Warp</a>, <a href="/wiki/Morr_Music" title="Morr Music">Morr Music</a>, <a href="/wiki/Sub_Pop" title="Sub Pop">Sub Pop</a>, and <a href="/wiki/Ghostly_International" title="Ghostly International">Ghostly International</a>.<a href="#cite_note-indieelectronic-209">[209]</a> <div class="mw-heading mw-heading2"><h2 id="2000s_and_2010s">2000s and 2010s</h2>[<a href="/w/index.php?title=Electronic_music&action=edit&section=33" title="Edit section: 2000s and 2010s">edit</a>]</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Plekklindid_weekend.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/a/ab/Plekklindid_weekend.jpg/220px-Plekklindid_weekend.jpg" decoding="async" width="220" height="147" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/ab/Plekklindid_weekend.jpg/330px-Plekklindid_weekend.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/ab/Plekklindid_weekend.jpg/440px-Plekklindid_weekend.jpg 2x" data-file-width="1920" data-file-height="1280" /></a><figcaption><a href="/wiki/Weekend_Festival" title="Weekend Festival">Weekend Festival</a>, an electronic music event in <a href="/wiki/P%C3%A4rnu" title="Pärnu">Pärnu</a>, <a href="/wiki/Estonia" title="Estonia">Estonia</a>, in 2016</figcaption></figure> As computer technology has become more accessible and <a href="/wiki/Music_software" class="mw-redirect" title="Music software">music software</a> has advanced, interacting with music production technology is now possible using means that bear no relationship to traditional <a href="/wiki/Performance" title="Performance">musical performance</a> practices:<a href="#cite_note-FOOTNOTEEmmerson2007111–113-210">[210]</a> for instance, <a href="/wiki/Laptop_computer" class="mw-redirect" title="Laptop computer">laptop</a> performance (<a href="/wiki/Laptronica" class="mw-redirect" title="Laptronica">laptronica</a>),<a href="#cite_note-FOOTNOTEEmmerson200780–81-211">[211]</a> <a href="/wiki/Live_coding" title="Live coding">live coding</a><a href="#cite_note-FOOTNOTEEmmerson2007115-212">[212]</a><a href="#cite_note-FOOTNOTECollins2003-213">[213]</a> and <a href="/wiki/Algorave" title="Algorave">Algorave</a>. In general, the term <a href="/wiki/Live_PA" title="Live PA">Live PA</a> refers to any live performance of electronic music, whether with laptops, synthesizers, or other devices. Beginning around the year 2000, some software-based virtual studio environments emerged, with products such as Propellerhead's <a href="/wiki/Reason_(software)" title="Reason (software)">Reason</a> and <a href="/wiki/Ableton_Live" title="Ableton Live">Ableton Live</a> finding popular appeal.<a href="#cite_note-214">[214]</a> Such tools provide viable and cost-effective alternatives to typical hardware-based production studios, and thanks to advances in <a href="/wiki/Microprocessor" title="Microprocessor">microprocessor</a> technology, it is now possible to create high-quality music using little more than a single laptop computer. Such advances have democratized music creation,<a href="#cite_note-FOOTNOTEChadabe20045–6-215">[215]</a> leading to a massive increase in the amount of home-produced electronic music available to the general public via the internet. Software-based 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).[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>] <div class="mw-heading mw-heading3"><h3 id="Circuit_bending">Circuit bending</h3>[<a href="/w/index.php?title=Electronic_music&action=edit&section=34" title="Edit section: Circuit bending">edit</a>]</div> <a href="/wiki/Circuit_bending" title="Circuit bending">Circuit bending</a> 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.<a href="#cite_note-216">[216]</a> <div class="mw-heading mw-heading3"><h3 id="Modular_synth_revival">Modular synth revival</h3>[<a href="/w/index.php?title=Electronic_music&action=edit&section=35" title="Edit section: Modular synth revival">edit</a>]</div> Following the circuit bending culture, musicians also began to build their own modular synthesizers, causing a renewed interest in the early 1960s designs. <a href="/wiki/Eurorack" title="Eurorack">Eurorack</a> became a popular system. <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2>[<a href="/w/index.php?title=Electronic_music&action=edit&section=36" title="Edit section: See also">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1239009302">.mw-parser-output .portalbox{padding:0;margin:0.5em 0;display:table;box-sizing:border-box;max-width:175px;list-style:none}.mw-parser-output .portalborder{border:1px solid var(--border-color-base,#a2a9b1);padding:0.1em;background:var(--background-color-neutral-subtle,#f8f9fa)}.mw-parser-output .portalbox-entry{display:table-row;font-size:85%;line-height:110%;height:1.9em;font-style:italic;font-weight:bold}.mw-parser-output .portalbox-image{display:table-cell;padding:0.2em;vertical-align:middle;text-align:center}.mw-parser-output .portalbox-link{display:table-cell;padding:0.2em 0.2em 0.2em 0.3em;vertical-align:middle}@media(min-width:720px){.mw-parser-output .portalleft{clear:left;float:left;margin:0.5em 1em 0.5em 0}.mw-parser-output .portalright{clear:right;float:right;margin:0.5em 0 0.5em 1em}}</style><ul role="navigation" aria-label="Portals" class="noprint portalbox portalborder portalright"> <li class="portalbox-entry"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/f/ff/GClef.svg/10px-GClef.svg.png" decoding="async" width="10" height="28" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/ff/GClef.svg/15px-GClef.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/ff/GClef.svg/20px-GClef.svg.png 2x" data-file-width="15" data-file-height="41" /><a href="/wiki/Portal:Music" title="Portal:Music">Music portal</a></li></ul> <ul><li><a href="/wiki/Clavioline" title="Clavioline">Clavioline</a></li> <li><a href="/wiki/Electronic_sackbut" title="Electronic sackbut">Electronic sackbut</a></li> <li><a href="/wiki/List_of_electronic_music_genres" title="List of electronic music genres">List of electronic music genres</a></li> <li><a href="/wiki/New_Interfaces_for_Musical_Expression" title="New Interfaces for Musical Expression">New Interfaces for Musical Expression</a></li> <li><a href="/wiki/Ondioline" title="Ondioline">Ondioline</a></li> <li><a href="/wiki/Spectral_music" title="Spectral music">Spectral music</a></li> <li><a href="/wiki/Tracker_music" class="mw-redirect" title="Tracker music">Tracker music</a></li> <li><a href="/wiki/Timeline_of_electronic_music_genres" title="Timeline of electronic music genres">Timeline of electronic music genres</a></li></ul> <dl><dt>Live electronic music</dt></dl> <ul><li><a href="/wiki/List_of_electronic_music_festivals" title="List of electronic music festivals">List of electronic music festivals</a></li> <li><a href="/wiki/Live_electronic_music" title="Live electronic music">Live electronic music</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="Footnotes">Footnotes</h2>[<a href="/w/index.php?title=Electronic_music&action=edit&section=37" title="Edit section: Footnotes">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-1"><a href="#cite_ref-1">^</a> <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFCampbell2012" class="citation book cs1">Campbell, Michael (2012). "Electronica and Rap". Popular Music in America: The Beat Goes On (4th ed.). <a href="/wiki/Cengage_Learning" class="mw-redirect" title="Cengage Learning">Cengage Learning</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-84002976-8" title="Special:BookSources/978-0-84002976-8"><bdi>978-0-84002976-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Electronica+and+Rap&rft.btitle=Popular+Music+in+America%3A+The+Beat+Goes+On&rft.edition=4th&rft.pub=Cengage+Learning&rft.date=2012&rft.isbn=978-0-84002976-8&rft.aulast=Campbell&rft.aufirst=Michael&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> </li> <li id="cite_note-2"><a href="#cite_ref-2">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://daily.redbullmusicacademy.com/2018/05/synthedelia">"Synthedelia: Psychedelic Electronic Music in the 1960s"</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Synthedelia%3A+Psychedelic+Electronic+Music+in+the+1960s&rft_id=https%3A%2F%2Fdaily.redbullmusicacademy.com%2F2018%2F05%2Fsynthedelia&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> </li> <li id="cite_note-holmes3-3"><a href="#cite_ref-holmes3_3-0">^</a> "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 <a href="/wiki/Electroacoustic_music" title="Electroacoustic music">electroacoustic music</a>" (<a href="#CITEREFHolmes2002">Holmes 2002</a>, p. 6) </li> <li id="cite_note-holmes1-4"><a href="#cite_ref-holmes1_4-0">^</a> Electroacoustic music may also use electronic <a href="/wiki/Effect_unit" class="mw-redirect" title="Effect unit">effect units</a> 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 performances, natural sounds are modified in real-time using electronic effects and <a href="/wiki/Audio_console" class="mw-redirect" title="Audio console">audio consoles</a>. 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 (<a href="#CITEREFHolmes2002">Holmes 2002</a>, p. 8) </li> <li id="cite_note-5"><a href="#cite_ref-5">^</a> "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" (<a href="#CITEREFHolmes2002">Holmes 2002</a>, 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" (<a href="#CITEREFLebrecht1996">Lebrecht 1996</a>, p. 106). </li> <li id="cite_note-6"><a href="#cite_ref-6">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.berlinloveparade.com/">"Berlin Love Parade. What happened to the World's Greatest Party?"</a>. www.berlinloveparade.com. Retrieved 23 September 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.berlinloveparade.com&rft.atitle=Berlin+Love+Parade.+What+happened+to+the+World%27s+Greatest+Party%3F&rft_id=https%3A%2F%2Fwww.berlinloveparade.com%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> </li> <li id="cite_note-7"><a href="#cite_ref-7">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFNeill2002" class="citation journal cs1">Neill, Ben (2002). "Pleasure Beats: Rhythm and the Aesthetics of Current Electronic Music". <a href="/wiki/Leonardo_Music_Journal" title="Leonardo Music Journal">Leonardo Music Journal</a>. 12: 3–6. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1162%2F096112102762295052">10.1162/096112102762295052</a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:57562349">57562349</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Leonardo+Music+Journal&rft.atitle=Pleasure+Beats%3A+Rhythm+and+the+Aesthetics+of+Current+Electronic+Music&rft.volume=12&rft.pages=3-6&rft.date=2002&rft_id=info%3Adoi%2F10.1162%2F096112102762295052&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A57562349%23id-name%3DS2CID&rft.aulast=Neill&rft.aufirst=Ben&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> </li> <li id="cite_note-holmes_41-8"><a href="#cite_ref-holmes_41_8-0">^</a> <a href="#CITEREFHolmes2002">Holmes 2002</a>, p. 41 </li> <li id="cite_note-9"><a href="#cite_ref-9">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSwezey1995" class="citation book cs1">Swezey, Kenneth M. (1995). The Encyclopedia Americana – International Edition Vol. 13. Danbury, Connecticut: Grolier Incorporated. p. 211.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Encyclopedia+Americana+%E2%80%93+International+Edition+Vol.+13&rft.place=Danbury%2C+Connecticut&rft.pages=211&rft.pub=Grolier+Incorporated&rft.date=1995&rft.aulast=Swezey&rft.aufirst=Kenneth+M.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988">; <a href="#CITEREFWeidenaar1995">Weidenaar 1995</a>, p. 82 </li> <li id="cite_note-holmes_47-10"><a href="#cite_ref-holmes_47_10-0">^</a> <a href="#CITEREFHolmes2002">Holmes 2002</a>, p. 47 </li> <li id="cite_note-FOOTNOTEBusoni196295-11"><a href="#cite_ref-FOOTNOTEBusoni196295_11-0">^</a> <a href="#CITEREFBusoni1962">Busoni 1962</a>, p. 95. </li> <li id="cite_note-FOOTNOTERusscol197235–36-12"><a href="#cite_ref-FOOTNOTERusscol197235–36_12-0">^</a> <a href="#CITEREFRusscol1972">Russcol 1972</a>, pp. 35–36. </li> <li id="cite_note-13"><a href="#cite_ref-13">^</a> "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 <a href="#CITEREFRusscol1972">Russcol 1972</a>, p. 40. </li> <li id="cite_note-tvnpyt-14"><a href="#cite_ref-tvnpyt_14-0">^</a> <a href="#CITEREFRusscol1972">Russcol 1972</a>, p. 68. </li> <li id="cite_note-holmes_18-15"><a href="#cite_ref-holmes_18_15-0">^</a> <a href="#CITEREFHolmes2012">Holmes 2012</a>, p. 18 </li> <li id="cite_note-holmes_21-16">^ <a href="#cite_ref-holmes_21_16-0">a</a> <a href="#cite_ref-holmes_21_16-1">b</a> <a href="#cite_ref-holmes_21_16-2">c</a> <a href="#CITEREFHolmes2012">Holmes 2012</a>, p. 21 </li> <li id="cite_note-holmes_33-17"><a href="#cite_ref-holmes_33_17-0">^</a> <a href="#CITEREFHolmes2012">Holmes 2012</a>, p. 33; <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLee_De_Forest1950" class="citation cs2">Lee De Forest (1950), Father of radio: the autobiography of Lee de Forest, Wilcox & Follett, pp. <a rel="nofollow" class="external text" href="https://archive.org/details/fatherofradioaut0000defo">306–307</a></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Father+of+radio%3A+the+autobiography+of+Lee+de+Forest&rft.pages=306-307&rft.pub=Wilcox+%26+Follett&rft.date=1950&rft.au=Lee+De+Forest&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> </li> <li id="cite_note-roads_204-18"><a href="#cite_ref-roads_204_18-0">^</a> <a href="#CITEREFRoads2015">Roads 2015</a>, p. 204 </li> <li id="cite_note-holmes_24-19"><a href="#cite_ref-holmes_24_19-0">^</a> <a href="#CITEREFHolmes2012">Holmes 2012</a>, p. 24 </li> <li id="cite_note-holmes_26-20"><a href="#cite_ref-holmes_26_20-0">^</a> <a href="#CITEREFHolmes2012">Holmes 2012</a>, p. 26 </li> <li id="cite_note-holmes_28-21"><a href="#cite_ref-holmes_28_21-0">^</a> <a href="#CITEREFHolmes2012">Holmes 2012</a>, p. 28 </li> <li id="cite_note-toop_00-22"><a href="#cite_ref-toop_00_22-0">^</a> <a href="#CITEREFToop2016">Toop 2016</a>, "Free lines" </li> <li id="cite_note-smirnov_00-23"><a href="#cite_ref-smirnov_00_23-0">^</a> <a href="#CITEREFSmirnov2014">Smirnov 2014</a>, "Russian Electroacoustic Music from the 1930s–2000s" </li> <li id="cite_note-holmes_34-24"><a href="#cite_ref-holmes_34_24-0">^</a> <a href="#CITEREFHolmes2012">Holmes 2012</a>, p. 34 </li> <li id="cite_note-holmes_45-25"><a href="#cite_ref-holmes_45_25-0">^</a> <a href="#CITEREFHolmes2012">Holmes 2012</a>, p. 45 </li> <li id="cite_note-holmes_46-26"><a href="#cite_ref-holmes_46_26-0">^</a> <a href="#CITEREFHolmes2012">Holmes 2012</a>, p. 46 </li> <li id="cite_note-27"><a href="#cite_ref-27">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFJones2014" class="citation book cs1">Jones, Barrie (3 June 2014). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=zoa3AwAAQBAJ&pg=PA265">The Hutchinson Concise Dictionary of Music</a>. Routledge. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-135-95018-7" title="Special:BookSources/978-1-135-95018-7"><bdi>978-1-135-95018-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Hutchinson+Concise+Dictionary+of+Music&rft.pub=Routledge&rft.date=2014-06-03&rft.isbn=978-1-135-95018-7&rft.aulast=Jones&rft.aufirst=Barrie&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3Dzoa3AwAAQBAJ%26pg%3DPA265&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> </li> <li id="cite_note-FOOTNOTEAnonymous2006-28"><a href="#cite_ref-FOOTNOTEAnonymous2006_28-0">^</a> <a href="#CITEREFAnonymous2006">Anonymous 2006</a>. </li> <li id="cite_note-engel-weber-29"><a href="#cite_ref-engel-weber_29-0">^</a> <a href="#CITEREFEngel2006">Engel 2006</a>, pp. 4 and 7 </li> <li id="cite_note-30"><a href="#cite_ref-30">^</a> <a href="#CITEREFKrause2002">Krause 2002</a> <a rel="nofollow" class="external text" href="http://www.aes.org/e-lib/browse.cfm?elib=11304">abstract</a>. </li> <li id="cite_note-31"><a href="#cite_ref-31">^</a> <a href="#CITEREFEngelHammar2006">Engel & Hammar 2006</a>, p. 6. </li> <li id="cite_note-32"><a href="#cite_ref-32">^</a> <a href="#CITEREFSnell2006">Snell 2006</a>, <a rel="nofollow" class="external text" href="http://www.scu.edu/scm/summer2006/sound.cfm">scu.edu</a> </li> <li id="cite_note-FOOTNOTEAngus1984-33"><a href="#cite_ref-FOOTNOTEAngus1984_33-0">^</a> <a href="#CITEREFAngus1984">Angus 1984</a>. </li> <li id="cite_note-wire_2007-34">^ <a href="#cite_ref-wire_2007_34-0">a</a> <a href="#cite_ref-wire_2007_34-1">b</a> <a href="#CITEREFYoung2007">Young 2007</a>, p. 24 </li> <li id="cite_note-FOOTNOTEHolmes2008156–157-35"><a href="#cite_ref-FOOTNOTEHolmes2008156–157_35-0">^</a> <a href="#CITEREFHolmes2008">Holmes 2008</a>, pp. 156–157. </li> <li id="cite_note-FOOTNOTEPalombini199314-36"><a href="#cite_ref-FOOTNOTEPalombini199314_36-0">^</a> <a href="#CITEREFPalombini1993">Palombini 1993</a>, 14. </li> <li id="cite_note-37"><a href="#cite_ref-37">^</a> "Musique Concrete was created in Paris in 1948 from edited collages of everyday noise" (<a href="#CITEREFLebrecht1996">Lebrecht 1996</a>, p. 107). </li> <li id="cite_note-38"><a href="#cite_ref-38">^</a> NB: To the pioneers, an electronic work did not exist until it was "realized" in a real-time performance (<a href="#CITEREFHolmes2008">Holmes 2008</a>, p. 122). </li> <li id="cite_note-FOOTNOTESnyder1998-39"><a href="#cite_ref-FOOTNOTESnyder1998_39-0">^</a> <a href="#CITEREFSnyder1998">Snyder 1998</a>. </li> <li id="cite_note-FOOTNOTEManning200423-40"><a href="#cite_ref-FOOTNOTEManning200423_40-0">^</a> <a href="#CITEREFManning2004">Manning 2004</a>, p. 23. </li> <li id="cite_note-FOOTNOTELange2009173-41"><a href="#cite_ref-FOOTNOTELange2009173_41-0">^</a> <a href="#CITEREFLange2009">Lange 2009</a>, p. 173. </li> <li id="cite_note-qtrckp-42">^ <a href="#cite_ref-qtrckp_42-0">a</a> <a href="#cite_ref-qtrckp_42-1">b</a> <a href="#CITEREFKurtz1992">Kurtz 1992</a>, pp. 75–76. </li> <li id="cite_note-FOOTNOTEAnonymous1972-43"><a href="#cite_ref-FOOTNOTEAnonymous1972_43-0">^</a> <a href="#CITEREFAnonymous1972">Anonymous 1972</a>. </li> <li id="cite_note-FOOTNOTEEimert1972349-44"><a href="#cite_ref-FOOTNOTEEimert1972349_44-0">^</a> <a href="#CITEREFEimert1972">Eimert 1972</a>, p. 349. </li> <li id="cite_note-FOOTNOTEEimert19582-45"><a href="#cite_ref-FOOTNOTEEimert19582_45-0">^</a> <a href="#CITEREFEimert1958">Eimert 1958</a>, p. 2. </li> <li id="cite_note-FOOTNOTEUngeheuer1992117-46"><a href="#cite_ref-FOOTNOTEUngeheuer1992117_46-0">^</a> <a href="#CITEREFUngeheuer1992">Ungeheuer 1992</a>, p. 117. </li> <li id="cite_note-47"><a href="#cite_ref-47">^</a> (<a href="#CITEREFLebrecht1996">Lebrecht 1996</a>, p. 75): "... at Northwest German Radio in Cologne (1953), where the term 'electronic music' was coined to distinguish their pure experiments from musique concrete..." </li> <li id="cite_note-FOOTNOTEStockhausen197873–76,_78–79-48"><a href="#cite_ref-FOOTNOTEStockhausen197873–76,_78–79_48-0">^</a> <a href="#CITEREFStockhausen1978">Stockhausen 1978</a>, pp. 73–76, 78–79. </li> <li id="cite_note-49"><a href="#cite_ref-49">^</a> "In 1967, just following the world premiere of <a href="/wiki/Hymnen" title="Hymnen">Hymnen</a>, 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'" (<a href="#CITEREFHolmes2002">Holmes 2002</a>, p. 145). </li> <li id="cite_note-FOOTNOTELuening1968136-50"><a href="#cite_ref-FOOTNOTELuening1968136_50-0">^</a> <a href="#CITEREFLuening1968">Luening 1968</a>, p. 136. </li> <li id="cite_note-NYschool2-51"><a href="#cite_ref-NYschool2_51-0">^</a> <a href="#CITEREFJohnson2002">Johnson 2002</a>, p. 2. </li> <li id="cite_note-NYschool3-52"><a href="#cite_ref-NYschool3_52-0">^</a> <a href="#CITEREFJohnson2002">Johnson 2002</a>, p. 4. </li> <li id="cite_note-NYschool1-53"><a href="#cite_ref-NYschool1_53-0">^</a> "Carolyn Brown [Earle Brown's wife] 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 Williams Mix), who—like <a href="/wiki/Robert_Rauschenberg" title="Robert Rauschenberg">Robert Rauschenberg</a>—was a former student of Black Mountain College, which Cage and Cunnigham had first visited in the summer of 1948" (<a href="#CITEREFJohnson2002">Johnson 2002</a>, p. 20). </li> <li id="cite_note-nwclfn-54">^ <a href="#cite_ref-nwclfn_54-0">a</a> <a href="#cite_ref-nwclfn_54-1">b</a> <a href="#cite_ref-nwclfn_54-2">c</a> <a href="#CITEREFRusscol1972">Russcol 1972</a>, p. 92. </li> <li id="cite_note-urajla-55">^ <a href="#cite_ref-urajla_55-0">a</a> <a href="#cite_ref-urajla_55-1">b</a> <a href="#cite_ref-urajla_55-2">c</a> <a href="#cite_ref-urajla_55-3">d</a> <a href="#cite_ref-urajla_55-4">e</a> <a href="#cite_ref-urajla_55-5">f</a> <a href="#CITEREFLuening1968">Luening 1968</a>, p. 48. </li> <li id="cite_note-FOOTNOTELuening196849-56"><a href="#cite_ref-FOOTNOTELuening196849_56-0">^</a> <a href="#CITEREFLuening1968">Luening 1968</a>, p. 49. </li> <li id="cite_note-norman2-57"><a href="#cite_ref-norman2_57-0">^</a> "From at least Louis and Bebbe Barron's soundtrack for The Forbidden Planet onwards, electronic music—in particular synthetic timbre—has impersonated alien worlds in film" (<a href="#CITEREFNorman2004">Norman 2004</a>, p. 32). </li> <li id="cite_note-theory-58">^ <a href="#cite_ref-theory_58-0">a</a> <a href="#cite_ref-theory_58-1">b</a> <a href="#cite_ref-theory_58-2">c</a> <a href="#cite_ref-theory_58-3">d</a> <a href="#cite_ref-theory_58-4">e</a> <a rel="nofollow" class="external text" href="https://theoryandpractice.ru/posts/17525-ans-shumofon-i-termenvoks-kak-zarozhdalas-sovetskaya-elektronnaya-muzyka">«АНС», шумофон и терменвокс: как зарождалась советская электронная музыка</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20220210090934/https://theoryandpractice.ru/posts/17525-ans-shumofon-i-termenvoks-kak-zarozhdalas-sovetskaya-elektronnaya-muzyka">Archived</a> 10 February 2022 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>. In Russian </li> <li id="cite_note-59"><a href="#cite_ref-59">^</a> <a rel="nofollow" class="external text" href="http://www.etheroneph.com/retrozvuk/285-na-puti-k-elektromuzyke.html">Журнал «Техника — молодёжи», № 3 за 1960 год. Автор: Б.Орлов</a> In Russian </li> <li id="cite_note-mirf-60">^ <a href="#cite_ref-mirf_60-0">a</a> <a href="#cite_ref-mirf_60-1">b</a> <a href="#cite_ref-mirf_60-2">c</a> <a href="#cite_ref-mirf_60-3">d</a> <a rel="nofollow" class="external text" href="https://www.mirf.ru/fun/music/sovetskaya-elektronnaya-muzyka/">Советская электронная музыка</a>. In Russian </li> <li id="cite_note-61"><a href="#cite_ref-61">^</a> <a rel="nofollow" class="external text" href="http://www.newizv.ru/culture/2005-07-08/27800-zabytaja-melodija.html">Забытая мелодия. В архивах фирмы грамзаписи обнаружена музыка, приговорённая сорок лет назад к уничтожению. Баканов Константин. Новые Известия July 2005</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20170205181204/http://www.newizv.ru/culture/2005-07-08/27800-zabytaja-melodija.html">Archived</a> 5 February 2017 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>. In Russian </li> <li id="cite_note-62"><a href="#cite_ref-62">^</a> <a rel="nofollow" class="external text" href="https://pkzsk.info/tatyana-anciferova-u-menya-ne-bylo-zhelaniya-pokoryat-mir/">Татьяна Анциферова: «У меня не было желания покорять мир...»</a>. In Russian </li> <li id="cite_note-FOOTNOTEDoornbusch200525-63"><a href="#cite_ref-FOOTNOTEDoornbusch200525_63-0">^</a> <a href="#CITEREFDoornbusch2005">Doornbusch 2005</a>, p. 25. </li> <li id="cite_note-Fildes2008-64">^ <a href="#cite_ref-Fildes2008_64-0">a</a> <a href="#cite_ref-Fildes2008_64-1">b</a> <a href="#CITEREFFildes2008">Fildes 2008</a> </li> <li id="cite_note-Yamaha1935-65">^ <a href="#cite_ref-Yamaha1935_65-0">a</a> <a href="#cite_ref-Yamaha1935_65-1">b</a> Before the Second World War in Japan, several "electrical" instruments seem already to have been developed (see <a href="https://ja.wikipedia.org/wiki/%E9%9B%BB%E5%AD%90%E9%9F%B3%E6%A5%BD#黎明期" class="extiw" title="ja:電子音楽">ja:電子音楽#黎明期</a>), and in 1935 a kind of "electronic" musical instrument, the <a href="/wiki/Yamaha_Magna_Organ" class="mw-redirect" title="Yamaha Magna Organ">Yamaha Magna Organ</a>, was developed. It seems to be a multi-timbral keyboard instrument based on electrically blown <a href="/wiki/Free_reed" class="mw-redirect" title="Free reed">free reeds</a> with <a href="/wiki/Pickup_(music_technology)" title="Pickup (music technology)">pickups</a>, possibly similar to the <a href="/wiki/Electrostatic_reed_organ" class="mw-redirect" title="Electrostatic reed organ">electrostatic reed organs</a> developed by Frederick Albert Hoschke in 1934 then manufactured by <a href="/wiki/Everett_Piano_Company" title="Everett Piano Company">Everett</a> and <a href="/wiki/Rudolph_Wurlitzer_Company" class="mw-redirect" title="Rudolph Wurlitzer Company">Wurlitzer</a> until 1961. <div><ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1 cs1-prop-script cs1-prop-foreign-lang-source"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20120312131652/http://www.lib.kobe-u.ac.jp/das/jsp/ja/ContentViewM.jsp?METAID=00078861&TYPE=PRINT_FILE&POS=1"><bdi lang="ja">一時代を画する新楽器完成浜松の青年技師山下氏</bdi></a> [An epoch-defining new musical instrument was developed by a young engineer Mr.Yamashita in Hamamatsu]. <a href="/wiki/Hochi_Shimbun" class="mw-redirect" title="Hochi Shimbun">Hochi Shimbun</a> (in Japanese). 8 June 1935. Archived from <a rel="nofollow" class="external text" href="http://www.lib.kobe-u.ac.jp/das/jsp/ja/ContentViewM.jsp?METAID=00078861&TYPE=PRINT_FILE&POS=1">the original</a> on 12 March 2012. Retrieved 30 December 2011.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Hochi+Shimbun&rft.atitle=%E4%B8%80%E6%99%82%E4%BB%A3%E3%82%92%E7%94%BB%E3%81%99%E3%82%8B%E6%96%B0%E6%A5%BD%E5%99%A8%E5%AE%8C%E6%88%90+%E6%B5%9C%E6%9D%BE%E3%81%AE%E9%9D%92%E5%B9%B4%E6%8A%80%E5%B8%AB%E5%B1%B1%E4%B8%8B%E6%B0%8F&rft.date=1935-06-08&rft_id=http%3A%2F%2Fwww.lib.kobe-u.ac.jp%2Fdas%2Fjsp%2Fja%2FContentViewM.jsp%3FMETAID%3D00078861%26TYPE%3DPRINT_FILE%26POS%3D1&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation book cs1 cs1-prop-script cs1-prop-foreign-lang-source"><a rel="nofollow" class="external text" href="http://blog.goo.ne.jp/1971913/e/42d486d769c1ce9c2c5a426e00f18b68"><bdi lang="ja">新電氣樂器マグナオルガンの御紹介</bdi></a> [New Electric Musical Instrument – Introduction of the Magna Organ] (in Japanese). Hamamatsu: 日本樂器製造株式會社 (<a href="/wiki/Yamaha_Corporation" title="Yamaha Corporation">Yamaha</a>). 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'<a rel="nofollow" class="external text" href="https://francisrouth.net/epilgomena/appendices/appendix-b-four-electronic-music-concerts/">Four Electronic Music Concerts</a> </li> <li id="cite_note-89"><a href="#cite_ref-89">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://joseftal.org/wp-content/uploads/2022/04/Tal-Electronic-Music-1958-9-A-red.pdf">"Improved scans – Israel State Archives"</a> (PDF).</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Improved+scans+%E2%80%93+Israel+State+Archives&rft_id=https%3A%2F%2Fjoseftal.org%2Fwp-content%2Fuploads%2F2022%2F04%2FTal-Electronic-Music-1958-9-A-red.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> </li> <li id="cite_note-90"><a href="#cite_ref-90">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://joseftal.org/wp-content/uploads/2022/04/Tal-Electronic-Music-1958-9-B-red.pdf">"Improved scans – Israel State Archives"</a> (PDF).</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Improved+scans+%E2%80%93+Israel+State+Archives&rft_id=https%3A%2F%2Fjoseftal.org%2Fwp-content%2Fuploads%2F2022%2F04%2FTal-Electronic-Music-1958-9-B-red.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> </li> <li id="cite_note-FOOTNOTEGluck2005164–165-91"><a href="#cite_ref-FOOTNOTEGluck2005164–165_91-0">^</a> <a href="#CITEREFGluck2005">Gluck 2005</a>, pp. 164–165. </li> <li id="cite_note-FOOTNOTETalMarkel200255–62-92"><a href="#cite_ref-FOOTNOTETalMarkel200255–62_92-0">^</a> <a href="#CITEREFTalMarkel2002">Tal & Markel 2002</a>, pp. 55–62. </li> <li id="cite_note-FOOTNOTESchwartz1975124-93"><a href="#cite_ref-FOOTNOTESchwartz1975124_93-0">^</a> <a href="#CITEREFSchwartz1975">Schwartz 1975</a>, p. 124. </li> <li id="cite_note-FOOTNOTEBayly1982–1983150-94"><a href="#cite_ref-FOOTNOTEBayly1982–1983150_94-0">^</a> <a href="#Bayly19821983">Bayly 1982–1983</a>, p. 150. </li> <li id="cite_note-95"><a href="#cite_ref-95">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://didierdanse.net/electronic_1960.html">"Electronic music"</a>. didierdanse.net. Retrieved 10 June 2019.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=didierdanse.net&rft.atitle=Electronic+music&rft_id=http%3A%2F%2Fdidierdanse.net%2Felectronic_1960.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> </li> <li id="cite_note-oliveros1-96"><a href="#cite_ref-oliveros1_96-0">^</a> "A central figure in post-war electronic art music, <a href="/wiki/Pauline_Oliveros" title="Pauline Oliveros">Pauline Oliveros</a> [b. 1932] 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. 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Archived from <a rel="nofollow" class="external text" href="http://www.csse.unimelb.edu.au/dept/about/csirac/music/introduction.html">the original</a> on 18 January 2012.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=The+Music+of+CSIRAC&rft.pub=Melbourne+School+of+Engineering%2C+Department+of+Computer+Science+and+Software+Engineering&rft.aulast=Doornbusch&rft.aufirst=Paul&rft_id=http%3A%2F%2Fwww.csse.unimelb.edu.au%2Fdept%2Fabout%2Fcsirac%2Fmusic%2Fintroduction.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> </li> <li id="cite_note-Turing-109"><a href="#cite_ref-Turing_109-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.theguardian.com/science/2016/sep/26/first-recording-computer-generated-music-created-alan-turing-restored-enigma-code">"First recording of computer-generated music – created by Alan Turing – restored"</a>. <a href="/wiki/The_Guardian" title="The Guardian">The Guardian</a>. 26 September 2016. Retrieved 28 August 2017.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Guardian&rft.atitle=First+recording+of+computer-generated+music+%E2%80%93+created+by+Alan+Turing+%E2%80%93+restored&rft.date=2016-09-26&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fscience%2F2016%2Fsep%2F26%2Ffirst-recording-computer-generated-music-created-alan-turing-restored-enigma-code&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> </li> <li id="cite_note-BL-2016-09-110"><a href="#cite_ref-BL-2016-09_110-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://blogs.bl.uk/sound-and-vision/2016/09/restoring-the-first-recording-of-computer-music.html">"Restoring the first recording of computer music – Sound and vision blog"</a>. <a href="/wiki/British_Library" title="British Library">British Library</a>. 13 September 2016. Retrieved 28 August 2017.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Restoring+the+first+recording+of+computer+music+%E2%80%93+Sound+and+vision+blog&rft.pub=British+Library&rft.date=2016-09-13&rft_id=http%3A%2F%2Fblogs.bl.uk%2Fsound-and-vision%2F2016%2F09%2Frestoring-the-first-recording-of-computer-music.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> </li> <li id="cite_note-FOOTNOTEMattis2001-111"><a href="#cite_ref-FOOTNOTEMattis2001_111-0">^</a> <a href="#CITEREFMattis2001">Mattis 2001</a>. </li> <li id="cite_note-FOOTNOTEXenakis1992[[Category:Wikipedia_articles_needing_page_number_citations_from_October_2012]]<sup_class="noprint_Inline-Template_"_style="white-space:nowrap;">&#91;[[Wikipedia:Citing_sources|<span_title="This_citation_requires_a_reference_to_the_specific_page_or_range_of_pages_in_which_the_material_appears.&#32;(October_2012)">page&nbsp;needed]]&#93;-112"><a href="#cite_ref-FOOTNOTEXenakis1992[[Category:Wikipedia_articles_needing_page_number_citations_from_October_2012]]<sup_class="noprint_Inline-Template_"_style="white-space:nowrap;">&#91;[[Wikipedia:Citing_sources|<span_title="This_citation_requires_a_reference_to_the_specific_page_or_range_of_pages_in_which_the_material_appears.&#32;(October_2012)">page&nbsp;needed]]&#93;_112-0">^</a> <a href="#CITEREFXenakis1992">Xenakis 1992</a>, p. [<a href="/wiki/Wikipedia:Citing_sources" title="Wikipedia:Citing sources">page needed</a>]. </li> <li id="cite_note-FOOTNOTEStockhausen197151,_57,_66-113"><a href="#cite_ref-FOOTNOTEStockhausen197151,_57,_66_113-0">^</a> <a href="#CITEREFStockhausen1971">Stockhausen 1971</a>, pp. 51, 57, 66. </li> <li id="cite_note-circuit-114"><a href="#cite_ref-circuit_114-0">^</a> "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 (<a href="#CITEREFGard2004">Gard 2004</a>). 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" (<a href="#CITEREFYabsley2007">Yabsley 2007</a>). </li> <li id="cite_note-115"><a href="#cite_ref-115">^</a> Cosey Fanni Tutti. <a rel="nofollow" class="external text" href="http://www.brainwashed.com/tg/cosey.html">"Throbbing Gristle Personnel: Cosey Fanni Tutti"</a> (extract from <a href="/wiki/Throbbing_Gristle" title="Throbbing Gristle">Throbbing Gristle</a>'s 1986 album <a href="/wiki/CD1_(album)" title="CD1 (album)">CD1</a>. Brainwashed.com. Retrieved 21 April 2021. </li> <li id="cite_note-116"><a href="#cite_ref-116">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSewell2020" class="citation book cs1">Sewell, Amanda (2020). Wendy Carlos: A Biography. Oxford University Press. p. 172. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-19-005347-5" title="Special:BookSources/978-0-19-005347-5"><bdi>978-0-19-005347-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Wendy+Carlos%3A+A+Biography&rft.pages=172&rft.pub=Oxford+University+Press&rft.date=2020&rft.isbn=978-0-19-005347-5&rft.aulast=Sewell&rft.aufirst=Amanda&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> </li> <li id="cite_note-117"><a href="#cite_ref-117">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRancic2018" class="citation news cs1">Rancic, Michael (29 August 2018). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20210421055300/https://nowtoronto.com/music/features/suzanne-ciani-interview">"Analog synth pioneer Suzanne Ciani reflects on her life in waves"</a>. <a href="/wiki/Now_(newspaper)" title="Now (newspaper)">NOW Magazine</a>. Toronto. Archived from <a rel="nofollow" class="external text" href="https://nowtoronto.com/music/features/suzanne-ciani-interview">the original</a> on 21 April 2021. Retrieved 21 April 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=NOW+Magazine&rft.atitle=Analog+synth+pioneer+Suzanne+Ciani+reflects+on+her+life+in+waves&rft.date=2018-08-29&rft.aulast=Rancic&rft.aufirst=Michael&rft_id=https%3A%2F%2Fnowtoronto.com%2Fmusic%2Ffeatures%2Fsuzanne-ciani-interview&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> </li> <li id="cite_note-CrodaOrgan2017-118"><a href="#cite_ref-CrodaOrgan2017_118-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1 cs1-prop-foreign-lang-source"><a rel="nofollow" class="external text" href="http://crodaorganservice.com/">"クロダオルガン修理"</a> [Croda Organ Repair]. CrodaOrganService.com (in Japanese). May 2017. <q>クロダオルガン株式会社(昭和30年 [1955] 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、[2007]クロダオルガン株式会社廃業...</q> [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 [in 2007] the Croda Organ closed business...]</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=CrodaOrganService.com&rft.atitle=%E3%82%AF%E3%83%AD%E3%83%80%E3%82%AA%E3%83%AB%E3%82%AC%E3%83%B3%E4%BF%AE%E7%90%86&rft.date=2017-05&rft_id=http%3A%2F%2Fcrodaorganservice.com%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> </li> <li id="cite_note-DiamondDir1993p752-119"><a href="#cite_ref-DiamondDir1993p752_119-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation book cs1 cs1-prop-foreign-lang-source">"Vicotor Company of Japan, Ltd.". Diamond's Japan Business Directory (in Japanese). Diamond Lead Company. 1993. p. 752. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-4-924360-01-3" title="Special:BookSources/978-4-924360-01-3"><bdi>978-4-924360-01-3</bdi></a>. <q>[JVC] Developed Japan's first electronic organ, 1958</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Vicotor+Company+of+Japan%2C+Ltd.&rft.btitle=Diamond%27s+Japan+Business+Directory&rft.pages=752&rft.pub=Diamond+Lead+Company&rft.date=1993&rft.isbn=978-4-924360-01-3&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988">. Note: the first model by <a href="/wiki/JVC" title="JVC">JVC</a> was "EO-4420" in 1958. See also the Japanese Wikipedia article: "<a href="https://ja.wikipedia.org/wiki/%E3%83%93%E3%82%AF%E3%83%88%E3%83%AD%E3%83%B3#機種" class="extiw" title="ja:ビクトロン">w:ja:ビクトロン#機種</a>". </li> <li id="cite_note-Palmieri2004-120"><a href="#cite_ref-Palmieri2004_120-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPalmieri2004" class="citation book cs1">Palmieri, Robert (2004). The Piano: An Encyclopedia. Encyclopedia of keyboard instruments (2nd ed.). Routledge. p. <a rel="nofollow" class="external text" href="https://books.google.com/books?id=SQaUAgAAQBAJ&dq=Yamaha%20Electone%201959&pg=PT406">406</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-135-94963-1" title="Special:BookSources/978-1-135-94963-1"><bdi>978-1-135-94963-1</bdi></a>. <q>the development [and release] 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.</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Piano%3A+An+Encyclopedia&rft.series=Encyclopedia+of+keyboard+instruments&rft.pages=406&rft.edition=2nd&rft.pub=Routledge&rft.date=2004&rft.isbn=978-1-135-94963-1&rft.aulast=Palmieri&rft.aufirst=Robert&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988">. Note: the first model by <a href="/wiki/Yamaha_Corporation" title="Yamaha Corporation">Yamaha</a> was <a href="/wiki/List_of_Yamaha_Corporation_products#Electronic_organs" title="List of Yamaha Corporation products">"D-1"</a> in 1959." </li> <li id="cite_note-cambridge-121">^ <a href="#cite_ref-cambridge_121-0">a</a> <a href="#cite_ref-cambridge_121-1">b</a> <a href="#cite_ref-cambridge_121-2">c</a> Russell Hartenberger (2016), <a rel="nofollow" class="external text" href="https://books.google.com/books?id=G2WSCwAAQBAJ&pg=PA84">The Cambridge Companion to Percussion, p. 84</a>, Cambridge University Press </li> <li id="cite_note-sos_roland-122">^ <a href="#cite_ref-sos_roland_122-0">a</a> <a href="#cite_ref-sos_roland_122-1">b</a> <a href="#cite_ref-sos_roland_122-2">c</a> <a href="#cite_ref-sos_roland_122-3">d</a> <a href="#cite_ref-sos_roland_122-4">e</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFReid2004" class="citation cs2">Reid, Gordon (2004), <a rel="nofollow" class="external text" href="http://www.soundonsound.com/sos/nov04/articles/roland.htm">"The History Of Roland Part 1: 1930–1978"</a>, <a href="/wiki/Sound_on_Sound" title="Sound on Sound">Sound on Sound</a> (November), retrieved 19 June 2011</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Sound+on+Sound&rft.atitle=The+History+Of+Roland+Part+1%3A+1930%E2%80%931978&rft.issue=November&rft.date=2004&rft.aulast=Reid&rft.aufirst=Gordon&rft_id=http%3A%2F%2Fwww.soundonsound.com%2Fsos%2Fnov04%2Farticles%2Froland.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> </li> <li id="cite_note-123"><a href="#cite_ref-123">^</a> Matt Dean (2011), <a rel="nofollow" class="external text" href="https://books.google.com/books?id=9RmN7w8kVpAC&pg=PA390">The Drum: A History, page 390</a>, <a href="/wiki/Scarecrow_Press" class="mw-redirect" title="Scarecrow Press">Scarecrow Press</a> </li> <li id="cite_note-fact2016-124">^ <a href="#cite_ref-fact2016_124-0">a</a> <a href="#cite_ref-fact2016_124-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.factmag.com/2016/09/22/the-14-drum-machines-that-shaped-modern-music/">"The 14 drum machines that shaped modern music"</a>. 22 September 2016.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=The+14+drum+machines+that+shaped+modern+music&rft.date=2016-09-22&rft_id=http%3A%2F%2Fwww.factmag.com%2F2016%2F09%2F22%2Fthe-14-drum-machines-that-shaped-modern-music%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> </li> <li id="cite_note-DoncaMatic-125">^ <a href="#cite_ref-DoncaMatic_125-0">a</a> <a href="#cite_ref-DoncaMatic_125-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20050903144901/http://www.korg.co.jp/SoundMakeup/Museum/Doncamatic/">"Donca-Matic (1963)"</a>. Korg Museum. <a href="/wiki/Korg" title="Korg">Korg</a>. Archived from <a rel="nofollow" class="external text" href="http://www.korg.co.jp/SoundMakeup/Museum/Doncamatic/">the original</a> on 3 September 2005. 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October 2015. Retrieved 5 June 2016.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Reverb.com&rft.atitle=History+of+the+Record+Player+Part+II%3A+The+Rise+and+Fall&rft.date=2015-10&rft_id=https%3A%2F%2Freverb.com%2Fnews%2Fhistory-of-the-record-player-part-ii-the-rise-and-fall&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> </li> <li id="cite_note-wired-132"><a href="#cite_ref-wired_132-0">^</a> <a rel="nofollow" class="external text" href="https://www.wired.com/2002/05/blackbox/">Six Machines That Changed The Music World</a>, <a href="/wiki/Wired_(magazine)" title="Wired (magazine)">Wired</a>, May 2002 </li> <li id="cite_note-veal-133">^ <a href="#cite_ref-veal_133-0">a</a> <a href="#cite_ref-veal_133-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFVeal2013" class="citation book cs1">Veal, Michael (2013). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=kYtiAgAAQBAJ&pg=PP54">"Electronic Music in Jamaica"</a>. Dub: Soundscapes and Shattered Songs in Jamaican Reggae. Wesleyan University Press. pp. 26–44. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8195-7442-8" title="Special:BookSources/978-0-8195-7442-8"><bdi>978-0-8195-7442-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Electronic+Music+in+Jamaica&rft.btitle=Dub%3A+Soundscapes+and+Shattered+Songs+in+Jamaican+Reggae&rft.pages=26-44&rft.pub=Wesleyan+University+Press&rft.date=2013&rft.isbn=978-0-8195-7442-8&rft.aulast=Veal&rft.aufirst=Michael&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DkYtiAgAAQBAJ%26pg%3DPP54&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> </li> <li id="cite_note-cambridge20-134">^ <a href="#cite_ref-cambridge20_134-0">a</a> <a href="#cite_ref-cambridge20_134-1">b</a> Nicholas Collins, Margaret Schedel, Scott Wilson (2013), <a rel="nofollow" class="external text" href="https://books.google.com/books?id=bQeAtG97BmEC&pg=PA20">Electronic Music: Cambridge Introductions to Music, page 20</a>, <a href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</a> </li> <li id="cite_note-cambridge49-135">^ <a href="#cite_ref-cambridge49_135-0">a</a> <a href="#cite_ref-cambridge49_135-1">b</a> Nicholas Collins, Julio d' Escrivan Rincón (2007), <a rel="nofollow" class="external text" href="https://books.google.com/books?id=AJbdPZv1DjgC&pg=PA49">The Cambridge Companion to Electronic Music, page 49</a>, <a href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</a> </li> <li id="cite_note-136"><a href="#cite_ref-136">^</a> Andrew Brown (2012), <a rel="nofollow" class="external text" href="https://books.google.com/books?id=Q-UJLXXBqUQC&pg=PA127">Computers in Music Education: Amplifying Musicality, page 127</a>, <a href="/wiki/Routledge" title="Routledge">Routledge</a> </li> <li id="cite_note-137"><a href="#cite_ref-137">^</a> <a rel="nofollow" class="external text" href="http://www.factmag.com/2014/04/16/dubbing-is-a-must-a-beginners-guide-to-jamaicas-most-influential-genre/">Dubbing Is A Must: A Beginner's Guide To Jamaica's Most Influential Genre</a>, <a href="/wiki/Fact_(UK_magazine)" title="Fact (UK magazine)">Fact</a>. </li> <li id="cite_note-138"><a href="#cite_ref-138">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.soundonsound.com/techniques/classic-tracks-doors-strange-days">"Classic Tracks: The Doors 'Strange Days'"</a>. www.soundonsound.com. 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Retrieved 5 October 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Sound+on+Sound&rft.atitle=Silver+Apples%3A+Early+Electronica&rft.date=2010-10&rft.au=Tom+Doyle&rft_id=https%3A%2F%2Fwww.soundonsound.com%2Fpeople%2Fsilver-apples-early-electronica&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> </li> <li id="cite_note-141"><a href="#cite_ref-141">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTheodore_Stone2018" class="citation web cs1">Theodore Stone (2 May 2018). <a rel="nofollow" class="external text" href="https://www.popmatters.com/united-states-of-america-band-2565048516.html">"The United States of America and the Start of an Electronic Revolution"</a>. PopMatters. Retrieved 5 October 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=PopMatters&rft.atitle=The+United+States+of+America+and+the+Start+of+an+Electronic+Revolution&rft.date=2018-05-02&rft.au=Theodore+Stone&rft_id=https%3A%2F%2Fwww.popmatters.com%2Funited-states-of-america-band-2565048516.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> </li> <li id="cite_note-142"><a href="#cite_ref-142">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAlexis_Petridis2020" class="citation web cs1"><a href="/wiki/Alexis_Petridis" title="Alexis Petridis">Alexis Petridis</a> (9 September 2020). <a rel="nofollow" class="external text" href="https://www.theguardian.com/music/2020/sep/09/silver-apples-simeon-coxe-visionary-electronic-music">"Silver Apples' Simeon Coxe: visionary who saw music's electronic future"</a>. <a href="/wiki/The_Guardian" title="The Guardian">The Guardian</a>. Retrieved 5 October 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Guardian&rft.atitle=Silver+Apples%27+Simeon+Coxe%3A+visionary+who+saw+music%27s+electronic+future&rft.date=2020-09-09&rft.au=Alexis+Petridis&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fmusic%2F2020%2Fsep%2F09%2Fsilver-apples-simeon-coxe-visionary-electronic-music&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> </li> <li id="cite_note-143"><a href="#cite_ref-143">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFShindig2022" class="citation web cs1">Shindig (11 June 2022). <a rel="nofollow" class="external text" href="https://www.shindig-magazine.com/?p=5491">"Fifty Foot Hose – If Not This Time"</a>. Shindig Magazine. Shindig! Media Ltd & Silverback Publishing. Retrieved 26 February 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Shindig+Magazine&rft.atitle=Fifty+Foot+Hose+%E2%80%93+If+Not+This+Time&rft.date=2022-06-11&rft.au=Shindig&rft_id=https%3A%2F%2Fwww.shindig-magazine.com%2F%3Fp%3D5491&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> </li> <li id="cite_note-144"><a href="#cite_ref-144">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCraig_Miller2016" class="citation web cs1">Craig Miller (14 November 2016). <a rel="nofollow" class="external text" href="https://www.kqed.org/science/1147568/how-a-sound-guru-got-from-synthesizers-to-the-music-of-nature">"How a Sound Guru Got From Synthesizers to the Music of Nature"</a>. KQED. KQED Inc. Retrieved 19 February 2023. <q>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 to be pioneers in the musical genre that we now call "electronica."</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=KQED&rft.atitle=How+a+Sound+Guru+Got+From+Synthesizers+to+the+Music+of+Nature&rft.date=2016-11-14&rft.au=Craig+Miller&rft_id=https%3A%2F%2Fwww.kqed.org%2Fscience%2F1147568%2Fhow-a-sound-guru-got-from-synthesizers-to-the-music-of-nature&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> </li> <li id="cite_note-145"><a href="#cite_ref-145">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAdam_Sweeting2016" class="citation web cs1">Adam Sweeting (21 September 2016). <a rel="nofollow" class="external text" href="https://www.theguardian.com/music/2016/sep/21/gilli-smyth-obituary">"Gilli Smyth obituary"</a>. The Guardian. Guardian News & Media Limited. Retrieved 26 February 2023. <q>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 influential on electronica and techno music.</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Guardian&rft.atitle=Gilli+Smyth+obituary&rft.date=2016-09-21&rft.au=Adam+Sweeting&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fmusic%2F2016%2Fsep%2F21%2Fgilli-smyth-obituary&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> </li> <li id="cite_note-146"><a href="#cite_ref-146">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFriedmann2018" class="citation book cs1">Friedmann, Jonathan L. (2018). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=mHFmDwAAQBAJ&pg=PA112">Musical Aesthetics: An Introduction to Concepts, Theories, and Functions</a>. <a href="/wiki/Cambridge_Scholars_Publishing" title="Cambridge Scholars Publishing">Cambridge Scholars Publishing</a>. p. 112. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-5275-0940-5" title="Special:BookSources/978-1-5275-0940-5"><bdi>978-1-5275-0940-5</bdi></a>. Retrieved 17 February 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Musical+Aesthetics%3A+An+Introduction+to+Concepts%2C+Theories%2C+and+Functions&rft.pages=112&rft.pub=Cambridge+Scholars+Publishing&rft.date=2018&rft.isbn=978-1-5275-0940-5&rft.aulast=Friedmann&rft.aufirst=Jonathan+L.&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DmHFmDwAAQBAJ%26pg%3DPA112&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> </li> <li id="cite_note-147"><a href="#cite_ref-147">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLichtOldham2012" class="citation book cs1">Licht, Alan; Oldham, Will (3 April 2012). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=58EM1X-tBmcC&dq=hot+butter+popcorn+1972+gershon+kingsley&pg=PT91">Will Oldham on Bonnie 'Prince' Billy</a>. Faber & Faber. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-571-27191-7" title="Special:BookSources/978-0-571-27191-7"><bdi>978-0-571-27191-7</bdi></a>. Retrieved 17 February 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Will+Oldham+on+Bonnie+%27Prince%27+Billy&rft.pub=Faber+%26+Faber&rft.date=2012-04-03&rft.isbn=978-0-571-27191-7&rft.aulast=Licht&rft.aufirst=Alan&rft.au=Oldham%2C+Will&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D58EM1X-tBmcC%26dq%3Dhot%2Bbutter%2Bpopcorn%2B1972%2Bgershon%2Bkingsley%26pg%3DPT91&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> </li> <li id="cite_note-148"><a href="#cite_ref-148">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFJohn_Bush" class="citation web cs1">John Bush. <a rel="nofollow" class="external text" href="https://www.allmusic.com/artist/mother-mallards-portable-masterpiece-co-mn0000594566/biography">"Biography – Mother Mallard's Portable Masterpiece Co"</a>. AllMusic. AllMusic, Netaktion LLC. Retrieved 19 February 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=AllMusic&rft.atitle=Biography+%E2%80%93+Mother+Mallard%27s+Portable+Masterpiece+Co.&rft.au=John+Bush&rft_id=https%3A%2F%2Fwww.allmusic.com%2Fartist%2Fmother-mallards-portable-masterpiece-co-mn0000594566%2Fbiography&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> </li> <li id="cite_note-FOOTNOTEBussy200415–17-149"><a href="#cite_ref-FOOTNOTEBussy200415–17_149-0">^</a> <a href="#CITEREFBussy2004">Bussy 2004</a>, pp. 15–17. </li> <li id="cite_note-Bogdanov2002Prog-150"><a href="#cite_ref-Bogdanov2002Prog_150-0">^</a> <a href="#CITEREFUnterberger2002">Unterberger 2002</a>, pp. 1330–1. </li> <li id="cite_note-Holmes2008p403-151">^ <a href="#cite_ref-Holmes2008p403_151-0">a</a> <a href="#cite_ref-Holmes2008p403_151-1">b</a> <a href="#CITEREFHolmes2008">Holmes 2008</a>, p. 403. </li> <li id="cite_note-152"><a href="#cite_ref-152">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFToop1995" class="citation book cs1"><a href="/wiki/David_Toop" title="David Toop">Toop, David</a> (1995). <a rel="nofollow" class="external text" href="https://archive.org/details/oceanofsoundaeth0000toop/page/115">Ocean of Sound</a>. Serpent's Tail. p. <a rel="nofollow" class="external text" href="https://archive.org/details/oceanofsoundaeth0000toop/page/115">115</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-85242-382-7" title="Special:BookSources/978-1-85242-382-7"><bdi>978-1-85242-382-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Ocean+of+Sound&rft.pages=115&rft.pub=Serpent%27s+Tail&rft.date=1995&rft.isbn=978-1-85242-382-7&rft.aulast=Toop&rft.aufirst=David&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Foceanofsoundaeth0000toop%2Fpage%2F115&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> </li> <li id="cite_note-ttp-153"><a href="#cite_ref-ttp_153-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMattingly2002" class="citation book cs1">Mattingly, Rick (2002). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=VT7_x7m-RWcC">The Techno Primer: The Essential Reference for Loop-based Music Styles</a>. Hal Leonard Corporation. p. 38. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-634-01788-8" title="Special:BookSources/0-634-01788-8"><bdi>0-634-01788-8</bdi></a>. Retrieved 1 April 2013.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Techno+Primer%3A+The+Essential+Reference+for+Loop-based+Music+Styles&rft.pages=38&rft.pub=Hal+Leonard+Corporation&rft.date=2002&rft.isbn=0-634-01788-8&rft.aulast=Mattingly&rft.aufirst=Rick&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DVT7_x7m-RWcC&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> </li> <li id="cite_note-154"><a href="#cite_ref-154">^</a> Nicholas Collins, Margaret Schedel, Scott Wilson (2013), <a rel="nofollow" class="external text" href="https://books.google.com/books?id=bQeAtG97BmEC&pg=PA105">Electronic Music: Cambridge Introductions to Music, page 105</a>, <a href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</a> </li> <li id="cite_note-jenkins_2007-155">^ <a href="#cite_ref-jenkins_2007_155-0">a</a> <a href="#cite_ref-jenkins_2007_155-1">b</a> <a href="#CITEREFJenkins2007">Jenkins 2007</a>, pp. <a rel="nofollow" class="external text" href="https://books.google.com/books?id=c3EHIpo0DKwC&pg=PA133">133–34</a> </li> <li id="cite_note-Benzaiten-156">^ <a href="#cite_ref-Benzaiten_156-0">a</a> <a href="#cite_ref-Benzaiten_156-1">b</a> <a rel="nofollow" class="external text" href="https://www.discogs.com/release/1303605">Osamu Kitajima – Benzaiten</a> at <a href="/wiki/Discogs" title="Discogs">Discogs</a> </li> <li id="cite_note-guinness18-157"><a href="#cite_ref-guinness18_157-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRoberts2005" class="citation book cs1">Roberts, David, ed. (2005). Guinness World Records – British Hit Singles & Albums (18 ed.). Guinness World Records Ltd. p. 472. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-904994-00-8" title="Special:BookSources/1-904994-00-8"><bdi>1-904994-00-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Guinness+World+Records+%E2%80%93+British+Hit+Singles+%26+Albums&rft.pages=472&rft.edition=18&rft.pub=Guinness+World+Records+Ltd.&rft.date=2005&rft.isbn=1-904994-00-8&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> </li> <li id="cite_note-158"><a href="#cite_ref-158">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGreen2008" class="citation news cs1">Green, Thomas H. 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href="https://web.archive.org/web/20130208162634/http://mixonline.com/TECnology-Hall-of-Fame/aeg-magnetophone-recorder-090106/">"1935 AEG Magnetophon Tape Recorder"</a>, <a href="/wiki/Mix_(magazine)" title="Mix (magazine)">Mix Online</a>, archived from <a rel="nofollow" class="external text" href="http://mixonline.com/TECnology-Hall-of-Fame/aeg-magnetophone-recorder-090106/">the original</a> on 8 February 2013, retrieved 5 June 2011</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Mix+Online&rft.atitle=1935+AEG+Magnetophon+Tape+Recorder&rft.date=2006&rft.au=Anonymous&rft_id=http%3A%2F%2Fmixonline.com%2FTECnology-Hall-of-Fame%2Faeg-magnetophone-recorder-090106%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAnonymous2009" class="citation cs2">Anonymous (2009), <a rel="nofollow" class="external text" href="https://web.archive.org/web/20090218224051/http://wintermusicconference.com/events/idmas/winners2008.php">23rd Annual International Dance Music Awards Nominees & Winners</a>, Winter Music Conference, archived from <a rel="nofollow" class="external text" href="http://wintermusicconference.com/events/idmas/winners2008.php">the original</a> on 18 February 2009</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=23rd+Annual+International+Dance+Music+Awards+Nominees+%26+Winners&rft.pub=Winter+Music+Conference&rft.date=2009&rft.au=Anonymous&rft_id=http%3A%2F%2Fwintermusicconference.com%2Fevents%2Fidmas%2Fwinners2008.php&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAnonymous2010" class="citation cs2">Anonymous (2010), <a rel="nofollow" class="external text" href="https://web.archive.org/web/20120504194843/http://www.allmusic.com/explore/style/d18">"Synthpop"</a>, <a href="/wiki/AllMusic" title="AllMusic">AllMusic</a>, archived from <a rel="nofollow" class="external text" href="https://www.allmusic.com/explore/style/d18">the original</a> on 4 May 2012, retrieved 7 March 2021</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=AllMusic&rft.atitle=Synthpop&rft.date=2010&rft.au=Anonymous&rft_id=https%3A%2F%2Fwww.allmusic.com%2Fexplore%2Fstyle%2Fd18&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> (<a rel="nofollow" class="external text" href="https://web.archive.org/web/20110417163021/http://allmusic.com/explore/style/synth-pop-d18">archive</a> on 10 March 2011)</li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="Bayly19821983" class="citation cs2">Bayly, Richard (Fall 1982 – Summer 1983), "Ussachevsky on Varèse: An Interview April 24, 1979 at Goucher College", <a href="/wiki/Perspectives_of_New_Music" title="Perspectives of New Music">Perspectives of New Music</a>, 21 (1/2): 145–151, <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.2307%2F832872">10.2307/832872</a>, <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/832872">832872</a></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Perspectives+of+New+Music&rft.atitle=Ussachevsky+on+Var%C3%A8se%3A+An+Interview+April+24%2C+1979+at+Goucher+College&rft.chron=fall+1982+%E2%80%93+summer+1983&rft.volume=21&rft.issue=1%2F2&rft.pages=145-151&rft.date=1982%2F1983&rft_id=info%3Adoi%2F10.2307%2F832872&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F832872%23id-name%3DJSTOR&rft.aulast=Bayly&rft.aufirst=Richard&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBegault1994" class="citation cs2">Begault, Durand R. (1994), 3-D Sound for Virtual Reality and Multimedia, Boston: Academic Press, 1994, <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-12-084735-8" title="Special:BookSources/978-0-12-084735-8"><bdi>978-0-12-084735-8</bdi></a></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=3-D+Sound+for+Virtual+Reality+and+Multimedia&rft.place=Boston&rft.pub=Academic+Press%2C+1994&rft.date=1994&rft.isbn=978-0-12-084735-8&rft.aulast=Begault&rft.aufirst=Durand+R.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> (<a rel="nofollow" class="external text" href="http://www.cse.yorku.ca/course_archive/2005-06/W/6335/feb20/Begault_2000_3d_Sound_Multimedia.pdf">Online reprint</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20120810171114/http://www.cse.yorku.ca/course_archive/2005-06/W/6335/feb20/Begault_2000_3d_Sound_Multimedia.pdf">Archived</a> 10 August 2012 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, <a href="/wiki/NASA_Ames_Research_Center" class="mw-redirect" title="NASA Ames Research Center">NASA Ames Research Center</a> Technical Memorandum facsimile 2000.</li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBlashill2002" class="citation cs2">Blashill, Pat (2002), <a rel="nofollow" class="external text" href="https://www.wired.com/wired/archive/10.05/blackbox_pr.html">"Six Machines That Changed The Music World"</a>, <a href="/wiki/Wired_(magazine)" title="Wired (magazine)">Wired</a>, vol. 10, no. 5, pp. &#91, <a href="/wiki/Wikipedia:Citing_sources" title="Wikipedia:Citing sources">page needed</a>&#93, </cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Wired&rft.atitle=Six+Machines+That+Changed+The+Music+World&rft.volume=10&rft.issue=5&rft.pages=Category%3AWikipedia+articles+needing+page+number+citations+from+April+2014%3Csup+class%3D%22noprint+Inline-Template+%22+style%3D%22white-space%3Anowrap%2C+%22%3E%26%2391%2C+%3Ci%3EWikipedia%3ACiting+sources%7C%3Cspan+title%3D%22This+citation+requires+a+reference+to+the+specific+page+or+range+of+pages+in+which+the+material+appears.%26%2332%2C+%28April+2014%29%22%3Epage+needed%3C%2Fspan%3E%3C%2Fi%3E%26%2393%2C+%3C%2Fsup%3E&rft.date=2002&rft.aulast=Blashill&rft.aufirst=Pat&rft_id=https%3A%2F%2Fwww.wired.com%2Fwired%2Farchive%2F10.05%2Fblackbox_pr.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBusoni1962" class="citation cs2">Busoni, Ferruccio (1962), Sketch of a New Esthetic of Music, translated by Dr. Th. 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href="https://api.semanticscholar.org/CorpusID:62735944">62735944</a></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Contemporary+Music+Review&rft.atitle=Generative+Music+and+Laptop+Performance&rft.volume=22&rft.issue=4&rft.pages=67-79&rft.date=2003&rft_id=info%3Adoi%2F10.1080%2F0749446032000156919&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A62735944%23id-name%3DS2CID&rft.aulast=Collins&rft.aufirst=Nick&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDoornbusch2005" class="citation cs2">Doornbusch, Paul (2005), The Music of CSIRAC, Australia's First Computer Music, with accompanying CD recording, Australia: Common Ground Publishers, <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-86335-569-3" 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title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Die+Reihe&rft.atitle=What+Is+Electronic+Music%3F&rft.volume=1&rft.issue=English+edition&rft.pages=1-10&rft.date=1958&rft.aulast=Eimert&rft.aufirst=Herbert&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFEimert1972" class="citation cs2">Eimert, Herbert (1972), "How Electronic Music Began", <a href="/wiki/The_Musical_Times" title="The Musical Times">The Musical Times</a>, 113 (1550 (April)): 347–349, <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.2307%2F954658">10.2307/954658</a>, <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/954658">954658</a></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Musical+Times&rft.atitle=How+Electronic+Music+Began&rft.volume=113&rft.issue=1550+%28April%29&rft.pages=347-349&rft.date=1972&rft_id=info%3Adoi%2F10.2307%2F954658&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F954658%23id-name%3DJSTOR&rft.aulast=Eimert&rft.aufirst=Herbert&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> (First published in German in Melos 39 (January–February 1972): 42–44.)</li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFEmmerson2007" class="citation cs2">Emmerson, Simon (2007), Living Electronic Music, Aldershot (Hants.), Burlington (VT): Ashgate, <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7546-5546-6" 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title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Pierre+Schaeffer%3A+Inventor+of+Musique+Concrete&rft.date=1998&rft.aulast=Snyder&rft.aufirst=Jeff&rft_id=http%3A%2F%2Fcsunix1.lvc.edu%2F~snyder%2Fem%2Fschaef.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSoferLynner1977" class="citation cs2">Sofer, Danny; Lynner, Doug (1977), "Pat Gleeson interview", <a href="/wiki/Synapse:_The_Electronic_Music_Magazine" title="Synapse: The Electronic Music Magazine">Synapse: The Electronic Music Magazine</a>, 1 (5 (January–February)): 21–24, 35</cite><span 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title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=InfoWorld&rft.atitle=Jazzing+It+Up+at+the+NCC%3A+Hancock+and+Apple+II+Make+Music+Together&rft.volume=4&rft.issue=26+%285+July%29&rft.pages=1%2C+5&rft.date=1982&rft.aulast=Zussman&rft.aufirst=John+Unger&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DMjAEAAAAMBAJ%26q%3Dpatrick%2Bgleeson%2Bsynthesizer%26pg%3DPA1&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li></ul> </div> <div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2>[<a href="/w/index.php?title=Electronic_music&action=edit&section=39" title="Edit section: Further reading">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1251242444"><table class="box-Further_reading_cleanup plainlinks metadata ambox ambox-style" role="presentation"><tbody><tr><td class="mbox-image"><div class="mbox-image-div"><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/f/f2/Edit-clear.svg/40px-Edit-clear.svg.png" decoding="async" width="40" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/f/f2/Edit-clear.svg/60px-Edit-clear.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/f/f2/Edit-clear.svg/80px-Edit-clear.svg.png 2x" data-file-width="48" data-file-height="48" /></div></td><td class="mbox-text"><div class="mbox-text-span">This "<a href="/wiki/Wikipedia:Manual_of_Style/Layout#Further_reading" title="Wikipedia:Manual of Style/Layout">Further reading</a>" section may need cleanup. Please read the <a href="/wiki/Wikipedia:Further_reading" title="Wikipedia:Further reading">editing guide</a> and help improve the section. (January 2024) (<a href="/wiki/Help:Maintenance_template_removal" title="Help:Maintenance template removal">Learn how and when to remove this message</a>)</div></td></tr></tbody></table> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1184024115"><div class="div-col" style="column-width: 40em;"> <ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2">Ankeny, Jason (2010), <a rel="nofollow" class="external text" href="https://www.allmusic.com/artist/p4706">Kraftwerk: Biography</a>, Allmusic.com</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Kraftwerk%3A+Biography&rft.pub=Allmusic.com&rft.date=2010&rft.aulast=Ankeny&rft.aufirst=Jason&rft_id=https%3A%2F%2Fwww.allmusic.com%2Fartist%2Fp4706&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2">Ankeny, Jason (2020), <a rel="nofollow" class="external text" href="https://www.allmusic.com/artist/p5886/biography">Yellow Magic Orchestra: Biography</a>, Allmusic.com</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Yellow+Magic+Orchestra%3A+Biography&rft.pub=Allmusic.com&rft.date=2020&rft.aulast=Ankeny&rft.aufirst=Jason&rft_id=https%3A%2F%2Fwww.allmusic.com%2Fartist%2Fp5886%2Fbiography&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2">Anonymous (2001), <a rel="nofollow" class="external text" href="https://www.bbc.co.uk/dna/h2g2/A520831">"Theremin"</a>, BBC <a href="/wiki/H2g2" title="H2g2">h2g2</a> encyclopaedia project, retrieved 20 May 2008</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Theremin&rft.btitle=BBC+h2g2+encyclopaedia+project&rft.date=2001&rft.au=Anonymous&rft_id=https%3A%2F%2Fwww.bbc.co.uk%2Fdna%2Fh2g2%2FA520831&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988">. Guide ID: A520831 (Edited).</li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2">Anonymous (2007), <a rel="nofollow" class="external text" href="https://web.archive.org/web/20130514170031/http://www.recording-history.org/HTML/wire2.php">"Inventing the Wire Recorder"</a>, recording-history.org, Recording History: The History of Recording Technology, archived from <a rel="nofollow" class="external text" href="https://recordinghistory.org/technology/the-wire-recorder/inventing-the-wire-recorder/">the original</a> on 14 May 2013, retrieved 10 November 2024</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=recording-history.org&rft.atitle=Inventing+the+Wire+Recorder&rft.date=2007&rft.au=Anonymous&rft_id=https%3A%2F%2Frecordinghistory.org%2Ftechnology%2Fthe-wire-recorder%2Finventing-the-wire-recorder%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2">Bassingthwaighte, Sarah Louise (2002), <a rel="nofollow" class="external text" href="http://subliminal.org/flute/dissertation/">"Electroacoustic Music for the Flute"</a>, DMA dissertation, Seattle: <a href="/wiki/University_of_Washington" title="University of Washington">University of Washington</a>, retrieved 29 December 2011</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=DMA+dissertation&rft.atitle=Electroacoustic+Music+for+the+Flute&rft.date=2002&rft.aulast=Bassingthwaighte&rft.aufirst=Sarah+Louise&rft_id=http%3A%2F%2Fsubliminal.org%2Fflute%2Fdissertation%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation book cs1 cs1-prop-foreign-lang-source"><a href="/wiki/Christoph_von_Blumr%C3%B6der" title="Christoph von Blumröder">Blumröder, Christoph von</a> (2017). Die elektroakustische Musik: Eine kompositorische Revolution und ihre Folgen. Signale aus Köln. Beiträge zur Musik der Zeit (in German). Vol. 22. Vienna: Verlag Der Apfel. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-3-85450-422-1" title="Special:BookSources/978-3-85450-422-1"><bdi>978-3-85450-422-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Die+elektroakustische+Musik%3A+Eine+kompositorische+Revolution+und+ihre+Folgen&rft.place=Vienna&rft.series=Signale+aus+K%C3%B6ln.+Beitr%C3%A4ge+zur+Musik+der+Zeit&rft.pub=Verlag+Der+Apfel&rft.date=2017&rft.isbn=978-3-85450-422-1&rft.aulast=Blumr%C3%B6der&rft.aufirst=Christoph+von&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2">Bogdanov, Vladimir (2001), Chris Woodstra; Stephen Thomas Erlewine; John Bush (eds.), <a rel="nofollow" class="external text" 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class="citation cs2">Brick, Howard (2000), Age of Contradiction: American Thought and Culture in the 1960s, Ithaca: <a href="/wiki/Cornell_University_Press" title="Cornell University Press">Cornell University Press</a>., <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8014-8700-5" title="Special:BookSources/0-8014-8700-5"><bdi>0-8014-8700-5</bdi></a></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Age+of+Contradiction%3A+American+Thought+and+Culture+in+the+1960s&rft.place=Ithaca&rft.pub=Cornell+University+Press.&rft.date=2000&rft.isbn=0-8014-8700-5&rft.aulast=Brick&rft.aufirst=Howard&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> (Originally published: New York: Twayne, 1998)</li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2">Bush, John, <a 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title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Song+Review%3A+%27Blue+Monday%27&rft.pub=Allmusic+website&rft.date=2009&rft.aulast=Bush&rft.aufirst=John&rft_id=https%3A%2F%2Fwww.allmusic.com%2Fsong%2Ft1003217&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2"><a href="/wiki/Joel_Chadabe" title="Joel Chadabe">Chadabe, Joel</a> (1997), Electric Sound: The Past and Promise of Electronic Music, Upper Saddle River, New Jersey: <a href="/wiki/Prentice_Hall" title="Prentice Hall">Prentice Hall</a></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Electric+Sound%3A+The+Past+and+Promise+of+Electronic+Music&rft.place=Upper+Saddle+River%2C+New+Jersey&rft.pub=Prentice+Hall&rft.date=1997&rft.aulast=Chadabe&rft.aufirst=Joel&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li>Chekalin, Mikhael (n.d.). "<a rel="nofollow" class="external text" href="http://www.eurock.com/Display.aspx?Content=ChekalinMusic.aspx">A. Patterson Light & Sound</a>", <a rel="nofollow" class="external text" href="https://itunes.apple.com/us/podcast/eurock-live!-best-electronic/id259843945">itunes.apple.com Best of Electronic Music</a></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2">Crab, Simon (2005), <a rel="nofollow" class="external text" href="https://web.archive.org/web/20110722235914/http://120years.net/machines/novachord/index.html">"The Hammond Novachord (1939)"</a>, 120years.net, 120 Years of Electronic Music, archived from <a rel="nofollow" class="external text" href="http://120years.net/machines/novachord/index.html">the original</a> on 22 July 2011, retrieved 5 June 2011</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=120years.net&rft.atitle=The+Hammond+Novachord+%281939%29&rft.date=2005&rft.aulast=Crab&rft.aufirst=Simon&rft_id=http%3A%2F%2F120years.net%2Fmachines%2Fnovachord%2Findex.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2">Cummins, James (2008), Ambrosia: About a Culture—An Investigation of Electronica Music and Party Culture, Toronto, Ontario: Clark-Nova Books, <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-9784892-1-2" title="Special:BookSources/978-0-9784892-1-2"><bdi>978-0-9784892-1-2</bdi></a></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Ambrosia%3A+About+a+Culture%E2%80%94An+Investigation+of+Electronica+Music+and+Party+Culture&rft.place=Toronto%2C+Ontario&rft.pub=Clark-Nova+Books&rft.date=2008&rft.isbn=978-0-9784892-1-2&rft.au=Cummins%2C+James&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2">Donhauser, Peter (2007), Elektrische Klangmaschinen, Vienna: Boehlau</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Elektrische+Klangmaschinen&rft.place=Vienna&rft.pub=Boehlau&rft.date=2007&rft.aulast=Donhauser&rft.aufirst=Peter&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li>Dorschel, Andreas, Gerhard Eckel, and Deniz Peters (eds.) 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(1989), <a rel="nofollow" class="external text" href="https://archive.org/details/onwiresofournerv00heif">On The Wires of Our Nerves: The Art of Electroacoustic Music</a>, Cranbury, New Jersey: Associated University Presses, <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8387-5155-5" title="Special:BookSources/0-8387-5155-5"><bdi>0-8387-5155-5</bdi></a></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=On+The+Wires+of+Our+Nerves%3A+The+Art+of+Electroacoustic+Music&rft.place=Cranbury%2C+New+Jersey&rft.pub=Associated+University+Presses&rft.date=1989&rft.isbn=0-8387-5155-5&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fonwiresofournerv00heif&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2"><a href="/wiki/Douglas_Kahn" title="Douglas Kahn">Kahn, Douglas</a> (1999), Noise, Water, Meat: A History of Sound in the Arts, Cambridge, Massachusetts: MIT Press, <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-262-11243-4" title="Special:BookSources/0-262-11243-4"><bdi>0-262-11243-4</bdi></a>, New edition 2001</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Noise%2C+Water%2C+Meat%3A+A+History+of+Sound+in+the+Arts&rft.place=Cambridge%2C+Massachusetts&rft.pub=MIT+Press&rft.date=1999&rft.isbn=0-262-11243-4&rft.aulast=Kahn&rft.aufirst=Douglas&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2">Kettlewell, Ben (2001), Electronic Music Pioneers, [N.p.]: Course Technology, Inc., <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-931140-17-0" title="Special:BookSources/1-931140-17-0"><bdi>1-931140-17-0</bdi></a></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Electronic+Music+Pioneers&rft.place=%5BN.p.%5D&rft.pub=Course+Technology%2C+Inc.&rft.date=2001&rft.isbn=1-931140-17-0&rft.aulast=Kettlewell&rft.aufirst=Ben&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2">Licata, Thomas, ed. (2002), Electroacoustic Music: Analytical Perspectives, Westport, Connecticut: Greenwood Press, <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-313-31420-9" title="Special:BookSources/0-313-31420-9"><bdi>0-313-31420-9</bdi></a></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Electroacoustic+Music%3A+Analytical+Perspectives&rft.place=Westport%2C+Connecticut&rft.pub=Greenwood+Press&rft.date=2002&rft.isbn=0-313-31420-9&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2"><a href="/wiki/Otto_Luening" title="Otto Luening">Ortonng, Otto</a> (1964), "Some Random Remarks About Electronic Music", <a href="/wiki/Journal_of_Music_Theory" title="Journal of Music Theory">Journal of Music Theory</a>, 8 (1 (Spring)): 89–98, <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/842974">842974</a></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Journal+of+Music+Theory&rft.atitle=Some+Random+Remarks+About+Electronic+Music&rft.volume=8&rft.issue=1+%28Spring%29&rft.pages=89-98&rft.date=1964&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F842974%23id-name%3DJSTOR&rft.aulast=Ortonng&rft.aufirst=Otto&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2">Macan, Edward L. (1997), <a rel="nofollow" class="external text" href="https://archive.org/details/rockingclassicse0000maca">Rocking the Classics: English Progressive Rock and the Counterculture</a>, Oxford and New York: Oxford University Press, <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-19-509887-0" title="Special:BookSources/0-19-509887-0"><bdi>0-19-509887-0</bdi></a></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Rocking+the+Classics%3A+English+Progressive+Rock+and+the+Counterculture&rft.place=Oxford+and+New+York&rft.pub=Oxford+University+Press&rft.date=1997&rft.isbn=0-19-509887-0&rft.aulast=Macan&rft.aufirst=Edward+L.&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Frockingclassicse0000maca&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2">Orton, Richard; <a href="/wiki/Hugh_Davies_(composer)" title="Hugh Davies (composer)">Davies, Hugh</a> (2001), <a rel="nofollow" class="external text" href="http://www.oxfordmusiconline.com/subscriber/article/grove/music/20343">"Ondes martenot"</a>, <a href="/wiki/Grove_Music_Online" class="mw-redirect" title="Grove Music Online">Grove Music Online</a>, Oxford Music Online, retrieved 2 February 2011</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Grove+Music+Online&rft.atitle=Ondes+martenot&rft.date=2001&rft.aulast=Orton&rft.aufirst=Richard&rft.au=Davies%2C+Hugh&rft_id=http%3A%2F%2Fwww.oxfordmusiconline.com%2Fsubscriber%2Farticle%2Fgrove%2Fmusic%2F20343&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> (subscription required)</li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2"><a href="/wiki/Joan_Peyser" title="Joan Peyser">Peyser, Joan</a> (1995), The Music of My Time, White Plains, New York: Pro/AM Music Resources; London: Kahn and Averill, <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-912483-99-3" title="Special:BookSources/978-0-912483-99-3"><bdi>978-0-912483-99-3</bdi></a></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Music+of+My+Time&rft.pub=White+Plains%2C+New+York%3A+Pro%2FAM+Music+Resources%3B+London%3A+Kahn+and+Averill&rft.date=1995&rft.isbn=978-0-912483-99-3&rft.aulast=Peyser&rft.aufirst=Joan&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2">Prendergast, Mark (2001), The Ambient Century: From Mahler to Trance: The Evolution of Sound in the Electronic Age, Forward [<a href="/wiki/Sic" title="Sic">sic</a>] by Brian Eno., New York: Bloomsbury, <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7475-4213-1" title="Special:BookSources/978-0-7475-4213-1"><bdi>978-0-7475-4213-1</bdi></a>, (hardcover eds.) (paper)</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Ambient+Century%3A+From+Mahler+to+Trance%3A+The+Evolution+of+Sound+in+the+Electronic+Age&rft.place=New+York&rft.pub=Bloomsbury&rft.date=2001&rft.isbn=978-0-7475-4213-1&rft.aulast=Prendergast&rft.aufirst=Mark&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2">Rappaport, Scott (2007), <a rel="nofollow" class="external text" href="http://currents.ucsc.edu/06-07/04-02/collaboration.asp">"Digital Arts and New Media Grad Students Collaborate Musically across Three Time Zones"</a>, UC Santa Cruz Currents Online, no. 2 April</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=UC+Santa+Cruz+Currents+Online&rft.atitle=Digital+Arts+and+New+Media+Grad+Students+Collaborate+Musically+across+Three+Time+Zones&rft.issue=2+April&rft.date=2007&rft.aulast=Rappaport&rft.aufirst=Scott&rft_id=http%3A%2F%2Fcurrents.ucsc.edu%2F06-07%2F04-02%2Fcollaboration.asp&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2">Reid, Gordon (2004), <a rel="nofollow" class="external text" href="http://www.soundonsound.com/sos/nov04/articles/roland.htm">"The History Of Roland Part 1: 1930–1978"</a>, <a href="/wiki/Sound_on_Sound" title="Sound on Sound">Sound on Sound</a> (November), retrieved 19 June 2011</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Sound+on+Sound&rft.atitle=The+History+Of+Roland+Part+1%3A+1930%E2%80%931978&rft.issue=November&rft.date=2004&rft.aulast=Reid&rft.aufirst=Gordon&rft_id=http%3A%2F%2Fwww.soundonsound.com%2Fsos%2Fnov04%2Farticles%2Froland.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2"><a href="/wiki/Simon_Reynolds" title="Simon Reynolds">Reynolds, Simon</a> (1998), Energy Flash: A Journey Through Rave Music and Dance Culture, London: Pan Macmillan, <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-330-35056-0" title="Special:BookSources/0-330-35056-0"><bdi>0-330-35056-0</bdi></a></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Energy+Flash%3A+A+Journey+Through+Rave+Music+and+Dance+Culture&rft.place=London&rft.pub=Pan+Macmillan&rft.date=1998&rft.isbn=0-330-35056-0&rft.aulast=Reynolds&rft.aufirst=Simon&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"> (US title: <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2"><a rel="nofollow" class="external text" href="https://archive.org/details/generationecstas00reyn">Generation Ecstasy: Into the World of Techno and Rave Culture</a>, Boston: Little, Brown, 1998, <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-316-74111-6" title="Special:BookSources/0-316-74111-6"><bdi>0-316-74111-6</bdi></a></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Generation+Ecstasy%3A+Into+the+World+of+Techno+and+Rave+Culture&rft.place=Boston&rft.pub=Little%2C+Brown&rft.date=1998&rft.isbn=0-316-74111-6&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fgenerationecstas00reyn&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988">; New York: Routledge, 1999 <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-415-92373-5" title="Special:BookSources/0-415-92373-5">0-415-92373-5</a>)</li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2">Rosen, Jody (27 March 2008), <a rel="nofollow" class="external text" href="https://www.nytimes.com/2008/03/27/arts/27soun.html">"Researchers Play Tune Recorded before Edison"</a>, The New York Times</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+York+Times&rft.atitle=Researchers+Play+Tune+Recorded+before+Edison&rft.date=2008-03-27&rft.aulast=Rosen&rft.aufirst=Jody&rft_id=https%3A%2F%2Fwww.nytimes.com%2F2008%2F03%2F27%2Farts%2F27soun.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2"><a href="/wiki/Luigi_Russolo" title="Luigi Russolo">Russolo, Luigi</a> (1913), "L'arte dei rumori: manifesto futurista", Manifesti del movimento futurista 14, Milan: Direzione del movimento futurista</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=L%27arte+dei+rumori%3A+manifesto+futurista&rft.btitle=Manifesti+del+movimento+futurista+14&rft.place=Milan&rft.pub=Direzione+del+movimento+futurista&rft.date=1913&rft.aulast=Russolo&rft.aufirst=Luigi&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988">. English version as <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2">Russolo (1967), "The Art of Noise: Futurist Manifesto 1913", A Great Bear Pamphlet 18, translated by Robert Filliou, New York: Something Else Press</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=The+Art+of+Noise%3A+Futurist+Manifesto+1913&rft.btitle=A+Great+Bear+Pamphlet+18&rft.place=New+York&rft.pub=Something+Else+Press&rft.date=1967&rft.au=Russolo&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988">. Second English version as <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2">Russolo (1986), "The Art of Noises", Monographs in Musicology no. 6, translated from the Italian with an introduction by Barclay Brown, New York: Pendragon Press, <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-918728-57-6" title="Special:BookSources/0-918728-57-6"><bdi>0-918728-57-6</bdi></a></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=The+Art+of+Noises&rft.btitle=Monographs+in+Musicology+no.+6&rft.place=New+York&rft.pub=Pendragon+Press&rft.date=1986&rft.isbn=0-918728-57-6&rft.au=Russolo&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2">Schaefer, John (1987), <a href="/wiki/New_Sounds:_A_Listener%27s_Guide_to_New_Music" title="New Sounds: A Listener's Guide to New Music">New Sounds: A Listener's Guide to New Music</a>, New York: Harper Collins, <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-06-097081-2" title="Special:BookSources/0-06-097081-2"><bdi>0-06-097081-2</bdi></a></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=New+Sounds%3A+A+Listener%27s+Guide+to+New+Music&rft.place=New+York&rft.pub=Harper+Collins&rft.date=1987&rft.isbn=0-06-097081-2&rft.aulast=Schaefer&rft.aufirst=John&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2"><a href="/wiki/Edward_A._Shanken" title="Edward A. Shanken">Shanken, Edward A.</a> (2009), Art and Electronic Media, London: Phaidon, <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7148-4782-5" title="Special:BookSources/978-0-7148-4782-5"><bdi>978-0-7148-4782-5</bdi></a></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Art+and+Electronic+Media&rft.place=London&rft.pub=Phaidon&rft.date=2009&rft.isbn=978-0-7148-4782-5&rft.aulast=Shanken&rft.aufirst=Edward+A.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2">Shapiro, Peter, ed. (2000), <a rel="nofollow" class="external text" href="https://archive.org/details/modulationshisto00shap">Modulations: a History of Electronic Music: Throbbing Words on Sound</a>, New York: Caipirinha Productions, <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-891024-06-X" title="Special:BookSources/1-891024-06-X"><bdi>1-891024-06-X</bdi></a></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Modulations%3A+a+History+of+Electronic+Music%3A+Throbbing+Words+on+Sound&rft.place=New+York&rft.pub=Caipirinha+Productions&rft.date=2000&rft.isbn=1-891024-06-X&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fmodulationshisto00shap&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2">Sicko, Dan (1999), <a rel="nofollow" class="external text" href="https://archive.org/details/technorebelsrene00sick">Techno Rebels: The Renegades of Electronic Funk</a>, New York: Billboard Books, <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8230-8428-0" title="Special:BookSources/0-8230-8428-0"><bdi>0-8230-8428-0</bdi></a></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Techno+Rebels%3A+The+Renegades+of+Electronic+Funk&rft.place=New+York&rft.pub=Billboard+Books&rft.date=1999&rft.isbn=0-8230-8428-0&rft.aulast=Sicko&rft.aufirst=Dan&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Ftechnorebelsrene00sick&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2">Stevenson, Joseph (2004), <a rel="nofollow" class="external text" href="https://www.allmusic.com/artist/q6265/biography">Tomita: Biography</a>, <a href="/wiki/AllMusic" title="AllMusic">AllMusic</a></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Tomita%3A+Biography&rft.pub=AllMusic&rft.date=2004&rft.aulast=Stevenson&rft.aufirst=Joseph&rft_id=https%3A%2F%2Fwww.allmusic.com%2Fartist%2Fq6265%2Fbiography&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li>Strange, Allen (1983), Electronic Music: Systems, Technics, and Controls, second ed. Dubuque, Iowa: W.C. Brown Co. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-697-03602-5" title="Special:BookSources/978-0-697-03602-5">978-0-697-03602-5</a>.</li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2">Tyson, Jeff (n.d.), <a rel="nofollow" class="external text" href="http://entertainment.howstuffworks.com/movie-sound1.htm">How Movie Sound Works</a>, Entertainment.howstuffworks.com, retrieved 28 March 2010</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=How+Movie+Sound+Works&rft.pub=Entertainment.howstuffworks.com&rft.aulast=Tyson&rft.aufirst=Jeff&rft_id=http%3A%2F%2Fentertainment.howstuffworks.com%2Fmovie-sound1.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2">Verboven, Jos (2014), <a rel="nofollow" class="external text" href="http://brainvoyagermusic.com/sequencer/">"The Music Sequencer: What Is It and What Can It Do?"</a>, Electronic Music of Brainvoyager, <a href="/wiki/Brainvoyager" title="Brainvoyager">Brainvoyager</a>, retrieved 17 April 2016</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Electronic+Music+of+Brainvoyager&rft.atitle=The+Music+Sequencer%3A+What+Is+It+and+What+Can+It+Do%3F&rft.date=2014&rft.aulast=Verboven&rft.aufirst=Jos&rft_id=http%3A%2F%2Fbrainvoyagermusic.com%2Fsequencer%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2">Watson, Scott (2005), <a rel="nofollow" class="external text" href="https://web.archive.org/web/20080110172626/http://metmagazine.com/mag/return_modernism/">"A Return to Modernism"</a>, Music Education Technology Magazine (February), archived from <a rel="nofollow" class="external text" href="http://metmagazine.com/mag/return_modernism">the original</a> on 10 January 2008</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Music+Education+Technology+Magazine&rft.atitle=A+Return+to+Modernism&rft.issue=February&rft.date=2005&rft.aulast=Watson&rft.aufirst=Scott&rft_id=http%3A%2F%2Fmetmagazine.com%2Fmag%2Freturn_modernism&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2"><a href="/wiki/Thomas_Wells_(composer)" title="Thomas Wells (composer)">Wells, Thomas</a> (1981), The Technique of Electronic Music, New York: Schirmer Books; London: Collier Macmillan, <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-02-872830-8" title="Special:BookSources/978-0-02-872830-8"><bdi>978-0-02-872830-8</bdi></a></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Technique+of+Electronic+Music&rft.pub=New+York%3A+Schirmer+Books%3B+London%3A+Collier+Macmillan&rft.date=1981&rft.isbn=978-0-02-872830-8&rft.aulast=Wells&rft.aufirst=Thomas&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2">Zimmer, Dave (2000), <a rel="nofollow" class="external text" href="https://archive.org/details/crosbystillsnash00zimm">Crosby, Stills and Nash: The Authorized Biography</a>, Photography by Henry Diltz, New York: Da Capo Press, <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-306-80974-5" title="Special:BookSources/0-306-80974-5"><bdi>0-306-80974-5</bdi></a></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Crosby%2C+Stills+and+Nash%3A+The+Authorized+Biography&rft.place=New+York&rft.pub=Da+Capo+Press&rft.date=2000&rft.isbn=0-306-80974-5&rft.aulast=Zimmer&rft.aufirst=Dave&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fcrosbystillsnash00zimm&rfr_id=info%3Asid%2Fen.wikipedia.org%3AElectronic+music" class="Z3988"></li></ul> </div> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2>[<a href="/w/index.php?title=Electronic_music&action=edit&section=40" title="Edit section: External links">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1235681985">.mw-parser-output .side-box{margin:4px 0;box-sizing:border-box;border:1px solid #aaa;font-size:88%;line-height:1.25em;background-color:var(--background-color-interactive-subtle,#f8f9fa);display:flow-root}.mw-parser-output .side-box-abovebelow,.mw-parser-output .side-box-text{padding:0.25em 0.9em}.mw-parser-output .side-box-image{padding:2px 0 2px 0.9em;text-align:center}.mw-parser-output .side-box-imageright{padding:2px 0.9em 2px 0;text-align:center}@media(min-width:500px){.mw-parser-output .side-box-flex{display:flex;align-items:center}.mw-parser-output .side-box-text{flex:1;min-width:0}}@media(min-width:720px){.mw-parser-output .side-box{width:238px}.mw-parser-output .side-box-right{clear:right;float:right;margin-left:1em}.mw-parser-output .side-box-left{margin-right:1em}}</style><div class="side-box metadata side-box-right"><style data-mw-deduplicate="TemplateStyles:r1126788409">.mw-parser-output .plainlist ol,.mw-parser-output .plainlist ul{line-height:inherit;list-style:none;margin:0;padding:0}.mw-parser-output .plainlist ol li,.mw-parser-output .plainlist ul li{margin-bottom:0}</style> <div class="side-box-abovebelow"> <a href="/wiki/Wikipedia:The_Wikipedia_Library" title="Wikipedia:The Wikipedia Library">Library resources</a> about Electronic music <hr /></div> <div class="side-box-flex"> <div class="side-box-text plainlist"><ul><li><a class="external text" href="https://ftl.toolforge.org/cgi-bin/ftl?st=wp&su=electronic+music">Resources in your library</a></li> <li><a class="external text" href="https://ftl.toolforge.org/cgi-bin/ftl?st=wp&su=electronic+music&library=0CHOOSE0">Resources in other libraries</a></li> </ul></div></div> </div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1235681985"><style data-mw-deduplicate="TemplateStyles:r1237033735">@media print{body.ns-0 .mw-parser-output .sistersitebox{display:none!important}}@media screen{html.skin-theme-clientpref-night .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}</style><div class="side-box side-box-right plainlinks sistersitebox"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1126788409"> <div class="side-box-flex"> <div class="side-box-image"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/34px-Wikiquote-logo.svg.png" decoding="async" width="34" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/51px-Wikiquote-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/68px-Wikiquote-logo.svg.png 2x" data-file-width="300" data-file-height="355" /></div> <div class="side-box-text plainlist">Wikiquote has quotations related to <a href="https://en.wikiquote.org/wiki/Electronic_music" class="extiw" title="q:Electronic music">Electronic music</a>.</div></div> </div> <ul><li><a href="/wiki/File:Commons-logo.svg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/12px-Commons-logo.svg.png" decoding="async" width="12" height="16" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/18px-Commons-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/24px-Commons-logo.svg.png 2x" data-file-width="1024" data-file-height="1376" /></a> Media related to <a href="https://commons.wikimedia.org/wiki/Category:Electronic_music" class="extiw" title="commons:Category:Electronic music">Electronic music</a> at Wikimedia Commons</li> <li><a rel="nofollow" class="external text" href="http://www.music.psu.edu/Faculty%20Pages/Ballora/INART55/timeline.html">History of Electroacoustic Music – Timeline</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20100626011318/http://www.music.psu.edu/Faculty%20Pages/Ballora/INART55/timeline.html">Archived</a> 26 June 2010 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a></li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/19961104001141/http://www.emf.org/">Electronic Music Foundation</a></li> <li><a rel="nofollow" class="external text" href="https://totosono.info/en">History and Development of Electronic Music</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20201024112318/https://totosono.info/en">Archived</a> 24 October 2020 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a></li></ul> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><style data-mw-deduplicate="TemplateStyles:r1236075235">.mw-parser-output .navbox{box-sizing:border-box;border:1px solid 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.navbox{display:none!important}}</style></div><div role="navigation" class="navbox" aria-labelledby="Electronic_and_electroacoustic_music" style="padding:3px"><table class="nowraplinks mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="3"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239400231"><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Electronic_music" title="Template:Electronic music"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Electronic_music" title="Template talk:Electronic music"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Electronic_music" title="Special:EditPage/Template:Electronic music"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Electronic_and_electroacoustic_music" style="font-size:114%;margin:0 4em"><a class="mw-selflink selflink">Electronic</a> and <a href="/wiki/Electroacoustic_music" title="Electroacoustic music">electroacoustic music</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">Techniques</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Circuit_bending" title="Circuit bending">Circuit bending</a></li> <li><a href="/wiki/Computer_music" title="Computer music">Computer music</a></li> <li><a href="/wiki/Experimental_music" title="Experimental music">Experimental music</a></li> <li><a href="/wiki/Tod_Machover#Hyperinstruments" title="Tod Machover">Hyperinstrument</a></li> <li><a href="/wiki/Loop_(music)" title="Loop (music)">Loop</a></li> <li><a href="/wiki/Tape_loop" title="Tape loop">Tape loop</a></li> <li><a href="/wiki/Microsound" class="mw-redirect" title="Microsound">Microsound</a></li> <li><a href="/wiki/Musique_concr%C3%A8te" title="Musique concrète">Musique concrète</a></li> <li><a href="/wiki/Noise_music" title="Noise music">Noise music</a></li> <li><a href="/wiki/Octophonic_sound" title="Octophonic sound">Octophonic sound</a></li></ul> </div></td><td class="noviewer navbox-image" rowspan="4" style="width:1px;padding:0 0 0 2px"><div><a href="/wiki/Magnetic_tape" title="Magnetic tape"><img alt="Magnetic tape." src="//upload.wikimedia.org/wikipedia/commons/thumb/8/83/Magtape1.jpg/80px-Magtape1.jpg" decoding="async" width="80" height="98" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/83/Magtape1.jpg/120px-Magtape1.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/83/Magtape1.jpg/160px-Magtape1.jpg 2x" data-file-width="400" data-file-height="488" /></a></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">By country</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Chilean_electronic_music" title="Chilean electronic music">Chile</a></li> <li><a href="/wiki/French_electronic_music" title="French electronic music">France</a></li> <li><a href="/wiki/German_electronic_music" title="German electronic music">Germany</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Active organizations</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Computer_Music_Center" title="Computer Music Center">Computer Music Center</a></li> <li><a href="/wiki/Electronic_Music_Foundation" title="Electronic Music Foundation">Electronic Music Foundation</a></li> <li><a href="/wiki/Groupe_de_Recherches_Musicales" class="mw-redirect" title="Groupe de Recherches Musicales">Groupe de Recherches Musicales</a></li> <li><a href="/wiki/Institute_of_Sonology" title="Institute of Sonology">Institute of Sonology</a></li> <li><a href="/wiki/International_Confederation_of_Electroacoustic_Music" title="International Confederation of Electroacoustic Music">ICEM</a></li> <li><a href="/wiki/International_Computer_Music_Association" title="International Computer Music Association">ICMA</a></li> <li><a href="/wiki/IRCAM" title="IRCAM">IRCAM</a></li> <li><a href="/wiki/NIME" class="mw-redirect" title="NIME">NIME</a></li> <li><a href="/wiki/Society_for_Electro-Acoustic_Music_in_the_United_States" title="Society for Electro-Acoustic Music in the United States">SEAMUS</a></li> <li><a href="/wiki/STEIM" title="STEIM">STEIM</a></li> <li><a href="/wiki/De_Toonzaal" title="De Toonzaal">Toonzaal</a> Studio</li> <li><a href="/wiki/WORM_(Rotterdam)" title="WORM (Rotterdam)">WORM</a> studio</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Inactive organizations</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/BBC_Radiophonic_Workshop" title="BBC Radiophonic Workshop">BBC Radiophonic Workshop</a></li> <li><a href="/wiki/Philips_Natuurkundig_Laboratorium" title="Philips Natuurkundig Laboratorium">Philips Natuurkundig Laboratorium</a></li> <li><a href="/wiki/NHK" title="NHK">NHK</a></li> <li><a href="/wiki/San_Francisco_Tape_Music_Center" title="San Francisco Tape Music Center">San Francisco Tape Music Center</a></li> <li><a href="/wiki/Studio_d%27Essai" title="Studio d'Essai">Studio d'Essai</a></li> <li><a href="/wiki/Studio_for_Electronic_Music_(WDR)" title="Studio for Electronic Music (WDR)">Studio for Electronic Music (WDR, Cologne)</a></li> <li><a href="/wiki/Studio_di_fonologia_musicale_di_Radio_Milano" title="Studio di fonologia musicale di Radio Milano">Studio di fonologia musicale di Radio Milano</a></li></ul> </div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235"></div><div role="navigation" class="navbox" aria-labelledby="Electronic-based_music_styles" style="padding:3px"><table class="nowraplinks mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239400231"><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Electronica" title="Template:Electronica"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Electronica" title="Template talk:Electronica"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Electronica" title="Special:EditPage/Template:Electronica"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Electronic-based_music_styles" style="font-size:114%;margin:0 4em"><a class="mw-selflink selflink">Electronic</a>-based music styles</div></th></tr><tr><td class="navbox-abovebelow" colspan="2"><div><a href="/wiki/Electronic_dance_music" title="Electronic dance music">Electronic dance music</a> · <a href="/wiki/Electronica" title="Electronica">Electronica</a></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/List_of_electronic_music_genres" title="List of electronic music genres">Genres</a> by <a href="/wiki/Timeline_of_electronic_music_genres" title="Timeline of electronic music genres">decade of origin</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%">Early</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Guitar_amplifier" title="Guitar amplifier">Amplified guitar</a> <ul><li><a href="/wiki/Electric_blues" title="Electric blues">Electric blues</a></li> <li><a href="/wiki/Music_of_Hawaii#Guitar_innovations" title="Music of Hawaii">Hawaiian guitar</a></li> <li><a href="/wiki/J%C3%B9j%C3%BA_music" title="Jùjú music">Jùjú</a></li> <li><a href="/wiki/Rock_music" title="Rock music">Rock</a> <ul><li><a href="/wiki/List_of_rock_genres" title="List of rock genres">List of rock genres</a></li></ul></li> <li><a href="/wiki/Western_swing" title="Western swing">Western swing</a></li></ul></li> <li><a href="/wiki/Biomusic" title="Biomusic">Biomusic</a></li> <li><a href="/wiki/Computer_music" title="Computer music">Computer music</a></li> <li><a href="/wiki/Electroacoustic_music" title="Electroacoustic music">Electroacoustic music</a> <ul><li><a href="/wiki/Acousmatic_music" title="Acousmatic music">Acousmatic music</a></li> <li><a href="/wiki/Musique_concr%C3%A8te" title="Musique concrète">Musique concrète</a></li> <li><a href="/wiki/Tape_music" class="mw-redirect" title="Tape music">Tape music</a></li></ul></li> <li><a href="/wiki/Elektronische_Musik" class="mw-redirect" title="Elektronische Musik">Elektronische Musik</a></li> <li><a href="/wiki/Live_electronic_music" title="Live electronic music">Live electronics</a></li> <li><a href="/wiki/Noise_music" title="Noise music">Noise</a></li> <li><a href="/wiki/Sound_system_(Jamaican)" title="Sound system (Jamaican)">Sound system (Jamaican)</a></li> <li><a href="/wiki/Space_age_pop" title="Space age pop">Space age pop</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">1960s</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Ambient_music" title="Ambient music">Ambient</a></li> <li><a href="/wiki/Drone_music" title="Drone music">Drone</a></li> <li><a href="/wiki/Dub_music" title="Dub music">Dub</a></li> <li><a href="/wiki/Electronic_rock" title="Electronic rock">Electronic rock</a></li> <li><a href="/wiki/Jazz-funk" title="Jazz-funk">Jazz-funk</a></li> <li><a href="/wiki/Krautrock" title="Krautrock">Krautrock</a></li> <li><a href="/wiki/New-age_music" title="New-age music">New-age music</a></li> <li><a href="/wiki/Progressive_rock" title="Progressive rock">Progressive rock</a></li> <li><a href="/wiki/Psychedelic_music" title="Psychedelic music">Psychedelic music</a> <ul><li><a href="/wiki/Psychedelic_funk" title="Psychedelic funk">Psychedelic funk</a></li> <li><a href="/wiki/Psychedelic_rock" title="Psychedelic rock">Psychedelic rock</a></li> <li><a href="/wiki/Sampledelia" title="Sampledelia">Sampledelia</a></li></ul></li> <li><a href="/wiki/Space_music" title="Space music">Space music</a> <ul><li><a href="/wiki/Space_rock" title="Space rock">Space rock</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">1970s</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Afro/cosmic_music" title="Afro/cosmic music">Afro/cosmic music</a> <ul><li><a href="/wiki/Space_disco" class="mw-redirect" title="Space disco">Space disco</a></li></ul></li> <li><a href="/wiki/Boogie_(genre)" title="Boogie (genre)">Boogie</a></li> <li><a href="/wiki/Chiptune" title="Chiptune">Chiptune</a></li> <li><a href="/wiki/Dancehall" title="Dancehall">Dancehall</a></li> <li><a href="/wiki/Electropunk" class="mw-redirect" title="Electropunk">Electropunk</a></li> <li><a href="/wiki/Eurodisco" title="Eurodisco">Eurodisco</a></li> <li><a href="/wiki/Hi-NRG" title="Hi-NRG">Hi-NRG</a></li> <li><a href="/wiki/Industrial_music" title="Industrial music">Industrial</a> <ul><li><a href="/wiki/Industrial_rock" title="Industrial rock">Industrial rock</a></li></ul></li> <li><a href="/wiki/Japanoise" title="Japanoise">Japanoise</a></li> <li><a href="/wiki/New_wave_music" title="New wave music">New wave</a> <ul><li><a href="/wiki/Cold_wave_(music)" title="Cold wave (music)">Cold wave</a></li> <li><a href="/wiki/Dark_wave" title="Dark wave">Dark wave</a></li> <li><a href="/wiki/Minimal_wave" title="Minimal wave">Minimal wave</a></li></ul></li> <li><a href="/wiki/Post-disco" title="Post-disco">Post-disco</a> <ul><li><a href="/wiki/Dance-punk" title="Dance-punk">Dance-punk</a></li> <li><a href="/wiki/Dance-rock" title="Dance-rock">Dance-rock</a></li> <li><a href="/wiki/Italo_disco" title="Italo disco">Italo disco</a></li></ul></li> <li><a href="/wiki/Reggae_fusion" title="Reggae fusion">Reggae fusion</a></li> <li><a href="/wiki/Synth-pop" title="Synth-pop">Synth-pop</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">1980s</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Acid_jazz" title="Acid jazz">Acid jazz</a></li> <li><a href="/wiki/Alternative_dance" title="Alternative dance">Alternative dance</a> <ul><li><a href="/wiki/Baggy" title="Baggy">Baggy</a></li></ul></li> <li><a href="/wiki/Ambient_pop" class="mw-redirect" title="Ambient pop">Ambient pop</a></li> <li><a href="/wiki/Breakbeat" title="Breakbeat">Breakbeat</a> <ul><li><a href="/wiki/Florida_breaks" title="Florida breaks">Florida breaks</a></li></ul></li> <li><a href="/wiki/Contemporary_R%26B" title="Contemporary R&B">Contemporary R&B</a> <ul><li><a href="/wiki/New_jack_swing" title="New jack swing">New jack swing</a></li></ul></li> <li><a href="/wiki/Dark_ambient" title="Dark ambient">Dark ambient</a></li> <li><a href="/wiki/Dubtronica" title="Dubtronica">Dubtronica</a></li> <li><a href="/wiki/Electro_(music)" title="Electro (music)">Electro</a> <ul><li><a href="/wiki/Freestyle_music" title="Freestyle music">Freestyle</a></li></ul></li> <li><a href="/wiki/Electro-industrial" title="Electro-industrial">Electro-industrial</a> <ul><li><a href="/wiki/Electronic_body_music" title="Electronic body music">Electronic body music</a></li></ul></li> <li><a href="/wiki/Electropop" title="Electropop">Electropop</a></li> <li><a href="/wiki/Ethnic_electronica" title="Ethnic electronica">Ethnic electronica</a> <ul><li><a href="/wiki/Funk_carioca" title="Funk carioca">Funk carioca</a></li> <li><a href="/wiki/Kuduro" title="Kuduro">Kuduro</a></li> <li><a href="/wiki/Kwaito" title="Kwaito">Kwaito</a></li> <li><a href="/wiki/Tecnocumbia" title="Tecnocumbia">Tecnocumbia</a></li> <li><a href="/wiki/Turbo-folk" title="Turbo-folk">Turbo-folk</a></li></ul></li> <li><a href="/wiki/Eurobeat" title="Eurobeat">Eurobeat</a></li> <li><a href="/wiki/Eurodance" title="Eurodance">Eurodance</a></li> <li><a href="/wiki/Grebo_(music)" title="Grebo (music)">Grebo</a></li> <li><a href="/wiki/House_music" title="House music">House</a> <ul><li><a href="/wiki/Acid_house" title="Acid house">Acid</a></li> <li><a href="/wiki/Ambient_house" title="Ambient house">Ambient</a></li> <li><a href="/wiki/Balearic_beat" title="Balearic beat">Balearic beat</a></li> <li><a href="/wiki/Chicago_house" title="Chicago house">Chicago</a></li> <li><a href="/wiki/Deep_house" title="Deep house">Deep</a></li> <li><a href="/wiki/Garage_house" title="Garage house">Garage</a></li> <li><a href="/wiki/Funky_house" title="Funky house">Funky</a></li> <li><a href="/wiki/Italo_house" title="Italo house">Italo</a></li> <li><a href="/wiki/New_Jersey_sound" title="New Jersey sound">Jersey sound</a></li> <li><a href="/wiki/Hip_house" title="Hip house">Hip house</a></li> <li><a href="/wiki/Latin_house" title="Latin house">Latin</a></li> <li><a href="/wiki/Tech_house" title="Tech house">Tech</a></li> <li><a href="/wiki/Tribal_house" title="Tribal house">Tribal</a></li></ul></li> <li><a href="/wiki/Industrial_hip_hop" title="Industrial hip hop">Industrial hip hop</a></li> <li><a href="/wiki/Industrial_metal" title="Industrial metal">Industrial metal</a></li> <li><a href="/wiki/Martial_industrial" title="Martial industrial">Martial industrial</a></li> <li><a href="/wiki/Miami_bass" title="Miami bass">Miami bass</a></li> <li><a href="/wiki/New_beat" title="New beat">New beat</a></li> <li><a href="/wiki/Power_electronics_(music)" class="mw-redirect" title="Power electronics (music)">Power electronics</a></li> <li><a href="/wiki/Ragga" title="Ragga">Ragga</a></li> <li><a href="/wiki/Sophisti-pop" title="Sophisti-pop">Sophisti-pop</a></li> <li><a href="/wiki/Synth-metal" class="mw-redirect" title="Synth-metal">Synth-metal</a></li> <li><a href="/wiki/Techno" title="Techno">Techno</a> <ul><li><a href="/wiki/Acid_techno" title="Acid techno">Acid techno</a></li> <li><a href="/wiki/Bleep_techno" title="Bleep techno">Bleep techno</a></li> <li><a href="/wiki/Detroit_techno" title="Detroit techno">Detroit techno</a></li></ul></li> <li><a href="/wiki/Tracker_music" class="mw-redirect" title="Tracker music">Tracker music</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">1990s</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Ambient_dub" class="mw-redirect" title="Ambient dub">Ambient dub</a></li> <li><a href="/wiki/Ambient_techno" title="Ambient techno">Ambient techno</a></li> <li><a href="/wiki/Asian_underground" class="mw-redirect" title="Asian underground">Asian underground</a></li> <li><a href="/wiki/Baltimore_club" title="Baltimore club">Baltimore club</a></li> <li><a href="/wiki/Bhangragga" class="mw-redirect" title="Bhangragga">Bhangragga</a></li> <li><a href="/wiki/Big_beat" title="Big beat">Big beat</a></li> <li><a href="/wiki/Bitpop" title="Bitpop">Bitpop</a></li> <li><a href="/wiki/Breakbeat_hardcore" title="Breakbeat hardcore">Breakbeat hardcore</a> <ul><li><a href="/wiki/Darkcore" title="Darkcore">Darkcore</a></li> <li><a href="/wiki/Happy_hardcore" title="Happy hardcore">Happy hardcore</a></li> <li><a href="/wiki/Toytown_techno" title="Toytown techno">Toytown techno</a></li></ul></li> <li><a href="/wiki/Broken_beat" title="Broken beat">Broken beat</a></li> <li><a href="/wiki/Changa_tuki" class="mw-redirect" title="Changa tuki">Changa tuki</a></li> <li><a href="/wiki/Chopped_and_screwed" title="Chopped and screwed">Chopped and screwed</a></li> <li><a href="/wiki/Dark_electro" class="mw-redirect" title="Dark electro">Dark electro</a></li> <li><a href="/wiki/Denpa_song" title="Denpa song">Denpa song</a></li> <li><a href="/wiki/Digital_hardcore" title="Digital hardcore">Digital hardcore</a></li> <li><a href="/wiki/Disco_polo" title="Disco polo">Disco polo</a></li> <li><a href="/wiki/Diva_house" title="Diva house">Diva house</a> <ul><li><a href="/wiki/Hardbag" title="Hardbag">Hardbag</a></li></ul></li> <li><a href="/wiki/Downtempo" title="Downtempo">Downtempo</a> <ul><li><a href="/wiki/Bristol_sound" class="mw-redirect" title="Bristol sound">Bristol sound</a></li> <li><a href="/wiki/Psybient" class="mw-redirect" title="Psybient">Psybient</a></li> <li><a href="/wiki/Trip_hop" title="Trip hop">Trip hop</a></li></ul></li> <li><a href="/wiki/Drum_and_bass" title="Drum and bass">Drum and bass</a> <ul><li>Heavy <ul><li><a href="/wiki/Darkstep" class="mw-redirect" title="Darkstep">Darkstep</a></li> <li><a href="/wiki/Hardstep" title="Hardstep">Hardstep</a></li> <li><a href="/wiki/Neurofunk" title="Neurofunk">Neurofunk</a></li> <li><a href="/wiki/Techstep" title="Techstep">Techstep</a></li></ul></li> <li><a href="/wiki/Jungle_music" title="Jungle music">Jungle</a> <ul><li><a href="/wiki/Ragga_jungle" class="mw-redirect" title="Ragga jungle">Ragga jungle</a></li></ul></li> <li>Light <ul><li><a href="/wiki/Atmospheric_drum_and_bass" class="mw-redirect" title="Atmospheric drum and bass">Atmospheric</a></li> <li><a href="/wiki/Intelligent_drum_and_bass" class="mw-redirect" title="Intelligent drum and bass">Intelligent</a></li> <li><a href="/wiki/Jazzstep" class="mw-redirect" title="Jazzstep">Jazzstep</a></li> <li><a href="/wiki/Liquid_funk" title="Liquid funk">Liquid funk</a></li></ul></li></ul></li> <li><a href="/wiki/Dub_techno" title="Dub techno">Dub techno</a></li> <li><a href="/wiki/Dungeon_synth" title="Dungeon synth">Dungeon synth</a></li> <li><a href="/wiki/Electroclash" title="Electroclash">Electroclash</a></li> <li><a href="/wiki/Folktronica" title="Folktronica">Folktronica</a></li> <li><a href="/wiki/French_house" title="French house">French house</a> <ul><li><a href="/wiki/Nu_disco" class="mw-redirect" title="Nu disco">Nu disco</a></li></ul></li> <li><a href="/wiki/Funkot" title="Funkot">Funkot</a></li> <li><a href="/wiki/Futurepop" title="Futurepop">Futurepop</a></li> <li><a href="/wiki/Ghetto_house" title="Ghetto house">Ghetto house</a> <ul><li><a href="/wiki/Footwork_(genre)" title="Footwork (genre)">Footwork</a></li> <li><a href="/wiki/Ghettotech" title="Ghettotech">Ghettotech</a></li></ul></li> <li><a href="/wiki/Glitch_(music)" title="Glitch (music)">Glitch</a></li> <li><a href="/wiki/Hardcore_(electronic_dance_music_genre)" title="Hardcore (electronic dance music genre)">Hardcore</a> <ul><li><a href="/wiki/Belgian_hardcore_techno" title="Belgian hardcore techno">Belgian techno</a></li> <li><a href="/wiki/Bouncy_techno" title="Bouncy techno">Bouncy techno</a></li> <li><a href="/wiki/Breakcore" title="Breakcore">Breakcore</a></li> <li><a href="/wiki/Free_tekno_(music)" class="mw-redirect" title="Free tekno (music)">Free tekno</a></li> <li><a href="/wiki/Frenchcore" title="Frenchcore">Frenchcore</a></li> <li><a href="/wiki/Gabber" title="Gabber">Gabber</a></li> <li><a href="/wiki/Hardstyle" title="Hardstyle">Hardstyle</a> <ul><li><a href="/wiki/Lento_violento" title="Lento violento">Lento violento</a></li></ul></li> <li><a href="/wiki/J-core" title="J-core">J-core</a></li> <li><a href="/wiki/M%C3%A1kina" title="Mákina">Mákina</a></li> <li><a href="/wiki/Speedcore" title="Speedcore">Speedcore</a></li></ul></li> <li><a href="/wiki/Harsh_noise_wall" title="Harsh noise wall">Harsh noise wall</a></li> <li><a href="/wiki/Illbient" title="Illbient">Illbient</a></li> <li><a href="/wiki/Indietronica" class="mw-redirect" title="Indietronica">Indietronica</a></li> <li><a href="/wiki/Industrial_techno" title="Industrial techno">Industrial techno</a></li> <li><a href="/wiki/Intelligent_dance_music" title="Intelligent dance music">Intelligent dance music</a> <ul><li><a href="/wiki/Drill_%27n%27_bass" title="Drill 'n' bass">Drill 'n' bass</a></li></ul></li> <li><a href="/wiki/Kidandali" title="Kidandali">Kidandali</a></li> <li><a href="/wiki/Jam_band#1996–2008:_rise_of_Phish_and_music_festivals" title="Jam band">Livetronica</a></li> <li><a href="/wiki/Merenhouse" title="Merenhouse">Merenhouse</a></li> <li><a href="/wiki/Microhouse" title="Microhouse">Microhouse</a></li> <li><a href="/wiki/Minimal_techno" title="Minimal techno">Minimal techno</a> <ul><li><a href="/wiki/Schaffel" title="Schaffel">Schaffel</a></li></ul></li> <li><a href="/wiki/Nu_jazz" title="Nu jazz">Nu jazz</a> <ul><li><a href="/wiki/Electro_swing" title="Electro swing">Electro swing</a></li></ul></li> <li><a href="/wiki/Nu_metal" title="Nu metal">Nu metal</a></li> <li><a href="/wiki/Nu_skool_breaks" title="Nu skool breaks">Nu skool breaks</a></li> <li><a href="/wiki/Post-rock" title="Post-rock">Post-rock</a></li> <li><a href="/wiki/Power_noise" title="Power noise">Power noise</a></li> <li><a href="/wiki/Progressive_house" title="Progressive house">Progressive house</a></li> <li><a href="/wiki/Psydub" title="Psydub">Psydub</a></li> <li><a href="/wiki/Reggaeton" title="Reggaeton">Reggaeton</a> <ul><li><a href="/wiki/Dembow" class="mw-redirect" title="Dembow">Dembow</a></li></ul></li> <li><a href="/wiki/Trance_music" title="Trance music">Trance</a> <ul><li><a href="/wiki/Acid_trance" title="Acid trance">Acid</a></li> <li><a href="/wiki/Balearic_trance" title="Balearic trance">Balearic</a></li> <li><a href="/wiki/Dream_trance" title="Dream trance">Dream</a></li> <li><a href="/wiki/Goa_trance" title="Goa trance">Goa</a></li> <li><a href="/wiki/Eurodance#Hands_Up" title="Eurodance">Hands Up</a></li> <li><a href="/wiki/Hard_trance" title="Hard trance">Hard</a></li> <li><a href="/wiki/Progressive_trance" class="mw-redirect" title="Progressive trance">Progressive</a></li> <li><a href="/wiki/Psychedelic_trance" title="Psychedelic trance">Psy</a></li> <li><a href="/wiki/Tech_trance" title="Tech trance">Tech</a></li> <li><a href="/wiki/Uplifting_trance" title="Uplifting trance">Uplifting</a></li> <li><a href="/wiki/Vocal_trance" class="mw-redirect" title="Vocal trance">Vocal</a></li></ul></li> <li><a href="/wiki/UK_garage" title="UK garage">UK garage</a> <ul><li><a href="/wiki/2-step_garage" title="2-step garage">2-step</a></li> <li><a href="/wiki/Breakstep" title="Breakstep">Breakstep</a></li> <li><a href="/wiki/Speed_garage" title="Speed garage">Speed garage</a></li></ul></li> <li><a href="/wiki/UK_hard_house" title="UK hard house">UK hard house</a> <ul><li><a href="/wiki/Hardbass" title="Hardbass">Hardbass</a></li> <li><a href="/wiki/Hard_NRG" title="Hard NRG">Hard NRG</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">2000s</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Afrobeats" title="Afrobeats">Afrobeats</a></li> <li><a href="/wiki/Bassline_(music_genre)" title="Bassline (music genre)">Bassline</a></li> <li><a href="/wiki/Budots" title="Budots">Budots</a></li> <li><a href="/wiki/Christian_electronic_dance_music" title="Christian electronic dance music">Christian electronic dance music</a></li> <li><a href="/wiki/Cloud_rap" title="Cloud rap">Cloud rap</a></li> <li><a href="/wiki/Coup%C3%A9-d%C3%A9cal%C3%A9" title="Coupé-décalé">Coupé-décalé</a></li> <li><a href="/wiki/Crunk" title="Crunk">Crunk</a> <ul><li><a href="/wiki/Crunkcore" title="Crunkcore">Crunkcore</a></li></ul></li> <li><a href="/wiki/Dancehall_pop" title="Dancehall pop">Dancehall pop</a></li> <li><a href="/wiki/Dubstep" title="Dubstep">Dubstep</a> <ul><li><a href="/wiki/Reggaestep" title="Reggaestep">Reggaestep</a></li></ul></li> <li><a href="/wiki/Electro_house" title="Electro house">Electro house</a> <ul><li><a href="/wiki/Complextro" class="mw-redirect" title="Complextro">Complextro</a></li> <li><a href="/wiki/Dutch_house" class="mw-redirect" title="Dutch house">Dutch house</a></li> <li><a href="/wiki/Fidget_house" class="mw-redirect" title="Fidget house">Fidget house</a></li></ul></li> <li><a href="/wiki/Electronicore" title="Electronicore">Electronicore</a></li> <li><a href="/wiki/Future_garage" title="Future garage">Future garage</a></li> <li><a href="/wiki/Grime_(music_genre)" class="mw-redirect" title="Grime (music genre)">Grime</a> <ul><li><a href="/wiki/Grindie" title="Grindie">Grindie</a></li></ul></li> <li><a href="/wiki/Hauntology_(music)" title="Hauntology (music)">Hauntology</a></li> <li><a href="/wiki/Hypnagogic_pop" title="Hypnagogic pop">Hypnagogic pop</a> <ul><li><a href="/wiki/Chillwave" title="Chillwave">Chillwave</a></li> <li><a href="/wiki/Glo-fi" class="mw-redirect" title="Glo-fi">Glo-fi</a></li></ul></li> <li><a href="/wiki/Jersey_club" title="Jersey club">Jersey club</a></li> <li><a href="/wiki/Juke_house" class="mw-redirect" title="Juke house">Juke house</a></li> <li><a href="/wiki/Jumpstyle" title="Jumpstyle">Jumpstyle</a></li> <li><a href="/wiki/Mainstream_hardcore" title="Mainstream hardcore">Mainstream hardcore</a></li> <li><a href="/wiki/Nightcore" title="Nightcore">Nightcore</a></li> <li><a href="/wiki/Nintendocore" title="Nintendocore">Nintendocore</a></li> <li><a href="/wiki/Nortec" title="Nortec">Nortec</a></li> <li><a href="/wiki/Phonk" title="Phonk">Phonk</a></li> <li><a href="/wiki/Post-punk_revival" title="Post-punk revival">Post-punk revival</a> <ul><li><a href="/wiki/New_rave" title="New rave">New rave</a></li></ul></li> <li><a href="/wiki/Rab%C3%B2day" title="Rabòday">Rabòday</a></li> <li><a href="/wiki/Reductionism_(music)" title="Reductionism (music)">Reductionism</a> <ul><li><a href="/wiki/Lowercase_(music)" title="Lowercase (music)">Lowercase</a></li> <li><a href="/wiki/Onkyokei" title="Onkyokei">Onkyokei</a></li></ul></li> <li><a href="/wiki/Russ_music" title="Russ music">Russ music</a></li> <li><a href="/wiki/Sambass" title="Sambass">Sambass</a></li> <li><a href="/wiki/Shangaan_electro" title="Shangaan electro">Shangaan electro</a></li> <li><a href="/wiki/Skweee" title="Skweee">Skweee</a></li> <li><a href="/wiki/Synthwave" title="Synthwave">Synthwave</a> <ul><li><a href="/wiki/Sovietwave" title="Sovietwave">Sovietwave</a></li></ul></li> <li><a href="/wiki/Tecno_brega" title="Tecno brega">Tecno brega</a></li> <li><a href="/wiki/Trival" class="mw-redirect" title="Trival">Trival</a></li> <li><a href="/wiki/UK_bass" title="UK bass">UK bass</a></li> <li><a href="/wiki/UK_funky" title="UK funky">UK funky</a> <ul><li><a href="/wiki/Funkstep" title="Funkstep">Funkstep</a></li></ul></li> <li><a href="/wiki/Vocaloid_music" class="mw-redirect" title="Vocaloid music">Vocaloid music</a></li> <li><a href="/wiki/Witch_house_(genre)" title="Witch house (genre)">Witch house</a></li> <li><a href="/wiki/Wonky_(genre)" title="Wonky (genre)">Wonky</a></li> <li><a href="/wiki/Wonky_pop" title="Wonky pop">Wonky pop</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">2010s</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Afroswing" title="Afroswing">Afroswing</a></li> <li><a href="/wiki/Algorave" title="Algorave">Algorave</a></li> <li><a href="/wiki/Amapiano" title="Amapiano">Amapiano</a></li> <li><a href="/wiki/Azonto" title="Azonto">Azonto</a></li> <li><a href="/wiki/Big_room_house" title="Big room house">Big room house</a></li> <li><a href="/wiki/Black_MIDI" title="Black MIDI">Black MIDI</a></li> <li><a href="/wiki/Brazilian_bass" class="mw-redirect" title="Brazilian bass">Brazilian bass</a></li> <li><a href="/wiki/Bro-country" title="Bro-country">Bro-country</a></li> <li><a href="/wiki/Deconstructed_club" title="Deconstructed club">Deconstructed club</a></li> <li><a href="/wiki/Dreampunk" title="Dreampunk">Dreampunk</a></li> <li><a href="/wiki/Funktronica" class="mw-redirect" title="Funktronica">Funktronica</a></li> <li><a href="/wiki/Future_bass" title="Future bass">Future bass</a> <ul><li><a href="/wiki/Kawaii_future_bass" class="mw-redirect" title="Kawaii future bass">Kawaii future bass</a></li></ul></li> <li><a href="/wiki/Future_house" title="Future house">Future house</a></li> <li><a href="/wiki/Future_soul" title="Future soul">Future soul</a></li> <li><a href="/wiki/Hyperpop" title="Hyperpop">Hyperpop</a></li> <li><a href="/wiki/Gqom" title="Gqom">Gqom</a></li> <li><a href="/wiki/Jungle_terror" class="mw-redirect" title="Jungle terror">Jungle terror</a></li> <li><a href="/wiki/Lofi_hip_hop" title="Lofi hip hop">Lofi hip hop</a></li> <li><a href="/wiki/Mahraganat" title="Mahraganat">Mahraganat</a></li> <li><a href="/wiki/Melbourne_bounce" class="mw-redirect" title="Melbourne bounce">Melbourne bounce</a></li> <li><a href="/wiki/Moombahton" title="Moombahton">Moombahton</a> <ul><li><a href="/wiki/Moombahcore" class="mw-redirect" title="Moombahcore">Moombahcore</a></li> <li><a href="/wiki/Moombahsoul" class="mw-redirect" title="Moombahsoul">Moombahsoul</a></li></ul></li> <li><a href="/wiki/Mumble_rap" title="Mumble rap">Mumble rap</a></li> <li><a href="/wiki/Outsider_house" title="Outsider house">Outsider house</a></li> <li><a href="/wiki/Plugg_(music)" class="mw-redirect" title="Plugg (music)">Plugg</a></li> <li><a href="/wiki/Post-dubstep" title="Post-dubstep">Post-dubstep</a> <ul><li><a href="/wiki/Brostep" title="Brostep">Brostep</a></li> <li><a href="/wiki/Riddim_(genre)" title="Riddim (genre)">Riddim (genre)</a></li></ul></li> <li><a href="/wiki/Rara_tech" title="Rara tech">Rara tech</a></li> <li><a href="/wiki/Seapunk" title="Seapunk">Seapunk</a></li> <li><a href="/wiki/Shamstep" title="Shamstep">Shamstep</a></li> <li><a href="/wiki/Trap_music_(EDM)" class="mw-redirect" title="Trap music (EDM)">EDM trap</a></li> <li><a href="/wiki/Tropical_house" title="Tropical house">Tropical house</a></li> <li><a href="/wiki/Vaporwave" title="Vaporwave">Vaporwave</a> <ul><li><a href="/wiki/Hardvapour" title="Hardvapour">Hardvapour</a></li> <li><a href="/wiki/Mallsoft" title="Mallsoft">Mallsoft</a></li> <li><a href="/wiki/Chopped_%26_screwed#Slowed_and_reverb" class="mw-redirect" title="Chopped & screwed">Slowed and reverb</a></li></ul></li> <li><a href="/wiki/Wave_music" title="Wave music">Wave</a> <ul><li><a href="/wiki/Hardwave" class="mw-redirect" title="Hardwave">Hardwave</a></li></ul></li> <li><a href="/wiki/Weird_SoundCloud" title="Weird SoundCloud">Weird SoundCloud</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">2020s</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Breakcore#2020s_revival" title="Breakcore">Breakcore revival</a></li> <li><a href="/wiki/Drift_phonk" class="mw-redirect" title="Drift phonk">Drift phonk</a></li> <li><a href="/wiki/Hyperpop#Related_genres" title="Hyperpop">Hyperpop microgenres</a></li> <li><a href="/wiki/Plugg_(music)#Proliferation_of_micro-subgenres" class="mw-redirect" title="Plugg (music)">Plugg microgenres</a></li> <li><a href="/wiki/Rage_rap" class="mw-redirect" title="Rage rap">Rage</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other topics</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%">Culture</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Drop_(music)" title="Drop (music)">Beat drop</a></li> <li><a href="/wiki/Club_drug" title="Club drug">Club drug</a></li> <li><a href="/wiki/Disc_jockey" title="Disc jockey">Disc jockey</a> <ul><li><a href="/wiki/DJ_mix" title="DJ mix">DJ mix</a></li> <li><a href="/wiki/Sound_system_(DJ)" title="Sound system (DJ)">Sound system</a></li> <li><a href="/wiki/Turntablism" title="Turntablism">Turntablism</a></li></ul></li> <li><a href="/wiki/Mashup_(music)" title="Mashup (music)">Mashup</a></li> <li><a href="/wiki/Microgenre" title="Microgenre">Microgenre</a></li> <li><a href="/wiki/Nightclub" title="Nightclub">Nightclub</a></li> <li><a href="/wiki/Rave" title="Rave">Rave</a> <ul><li><a href="/wiki/Acid_house_party" title="Acid house party">Acid house party</a></li> <li><a href="/wiki/Circuit_party" title="Circuit party">Circuit party</a></li> <li><a href="/wiki/Doof" title="Doof">Doof</a></li> <li><a href="/wiki/List_of_electronic_dance_music_festivals" class="mw-redirect" title="List of electronic dance music festivals">EDM festival</a></li> <li><a href="/wiki/Free_party" title="Free party">Free party</a> <ul><li><a href="/wiki/Teknival" title="Teknival">Teknival</a></li></ul></li></ul></li> <li><a href="/wiki/Remix" title="Remix">Remix</a></li> <li><a href="/wiki/Sampling_(music)" title="Sampling (music)">Sampling</a> <ul><li><a href="/wiki/Plunderphonics" title="Plunderphonics">Plunderphonics</a></li> <li><a href="/wiki/Rare_groove" title="Rare groove">Rare groove</a></li> <li><a href="/wiki/Riddim" title="Riddim">Riddim</a></li></ul></li> <li><a href="/wiki/Street_dance" title="Street dance">Street dance</a> <ul><li><a href="/wiki/House_dance" title="House dance">House dance</a></li> <li><a href="/wiki/Rave_dance" class="mw-redirect" title="Rave dance">Rave dance</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Genres</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Bass_music" title="Bass music">Bass music</a></li> <li><a href="/wiki/Celtic_fusion" title="Celtic fusion">Celtic fusion</a></li> <li><a href="/wiki/Chill-out_music" title="Chill-out music">Chill-out music</a> <ul><li><a href="/wiki/Lounge_music" title="Lounge music">Lounge music</a></li></ul></li> <li><a href="/wiki/Disco" title="Disco">Disco</a></li> <li><a href="/wiki/Doujin_music" title="Doujin music">Doujin music</a></li> <li><a href="/wiki/Lo-fi_music" title="Lo-fi music">Lo-fi music</a></li> <li><a href="/wiki/Madchester" title="Madchester">Madchester</a></li> <li><a href="/wiki/Progressive_electronica" class="mw-redirect" title="Progressive electronica">Progressive electronica</a></li> <li><a href="/wiki/Rave_music" class="mw-redirect" title="Rave music">Rave music</a></li> <li><a href="/wiki/Reggae" title="Reggae">Reggae</a></li> <li><a href="/wiki/Sound_collage" title="Sound collage">Sound collage</a></li> <li><a href="/wiki/Video_game_music" title="Video game music">Video game music</a> <ul><li><a href="/wiki/Adaptive_music" title="Adaptive music">Adaptive music</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Tools</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Bass_(sound)#Music_shows_and_dances" title="Bass (sound)">Bass</a></li> <li><a href="/wiki/Data_sonification" title="Data sonification">Data sonification</a></li> <li><a href="/wiki/Digital_audio_workstation" title="Digital audio workstation">Digital audio workstation</a></li> <li><a href="/wiki/Drum_break" class="mw-redirect" title="Drum break">Drum break</a> <ul><li><a href="/wiki/Category:Sampled_drum_breaks" title="Category:Sampled drum breaks">List</a></li></ul></li> <li><a href="/wiki/Electronic_musical_instrument" title="Electronic musical instrument">Electronic musical instrument</a> <ul><li><a href="/wiki/Drum_machine" title="Drum machine">Drum machine</a></li> <li><a href="/wiki/Sampler_(musical_instrument)" title="Sampler (musical instrument)">Sampler</a></li> <li><a href="/wiki/Synthesizer" title="Synthesizer">Synthesizer</a></li></ul></li> <li><a href="/wiki/Electronics_in_rock_music" title="Electronics in rock music">Electronics in rock music</a></li> <li><a href="/wiki/MIDI" title="MIDI">MIDI</a></li> <li><a href="/wiki/Music_technology_(electronic_and_digital)" title="Music technology (electronic and digital)">Music technology (electronic and digital)</a></li> <li><a href="/wiki/Recording_studio_as_an_instrument" title="Recording studio as an instrument">Recording studio as an instrument</a></li> <li><a href="/wiki/Waveform" title="Waveform">Waveform</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235"><style 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id="Authority_control_databases_frameless&#124;text-top&#124;10px&#124;alt=Edit_this_at_Wikidata&#124;link=https&#58;//www.wikidata.org/wiki/Q9778#identifiers&#124;class=noprint&#124;Edit_this_at_Wikidata" style="font-size:114%;margin:0 4em"><a href="/wiki/Help:Authority_control" title="Help:Authority control">Authority control databases</a> <a href="https://www.wikidata.org/wiki/Q9778#identifiers" title="Edit this at Wikidata"><img alt="Edit this at Wikidata" src="//upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png" decoding="async" width="10" height="10" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/15px-OOjs_UI_icon_edit-ltr-progressive.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/20px-OOjs_UI_icon_edit-ltr-progressive.svg.png 2x" data-file-width="20" data-file-height="20" /></a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">National</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><a rel="nofollow" class="external text" href="https://d-nb.info/gnd/4014355-7">Germany</a></li><li><a rel="nofollow" class="external text" href="https://id.loc.gov/authorities/sh85042350">United States</a></li><li><a rel="nofollow" class="external text" href="https://catalogue.bnf.fr/ark:/12148/cb121323832">France</a></li><li><a rel="nofollow" class="external text" href="https://data.bnf.fr/ark:/12148/cb121323832">BnF data</a></li><li><a rel="nofollow" class="external text" href="https://id.ndl.go.jp/auth/ndlna/00561459">Japan</a></li><li><a rel="nofollow" class="external text" href="https://aleph.nkp.cz/F/?func=find-c&local_base=aut&ccl_term=ica=fd993392&CON_LNG=ENG">Czech Republic</a></li><li><a rel="nofollow" class="external text" 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