During the s to early s, the monophonic Mini-Moog became the most widely used synthesizer in both popular and electronic art music.
In the s, electronic music began having a significant influence on popular music, with the adoption of polyphonic synthesizers such as the Yamaha GX-1 and Prophet-5, electronic drums, and drum machines such as the Roland CR, through the emergence of genres such as krautrock, disco, new wave and synthpop. In the s, electronic music became more dominant in popular music, with a greater reliance on synthesizers, and the adoption of programmable drum machines such as the Roland TR and TR and the Linn LM-1, and bass synthesizers such as the Roland TB Electronically produced music became prevalent in the popular domain by the s, because of the advent of affordable music technology.
Contemporary electronic music includes many varieties and ranges from experimental art music to popular forms such as electronic dance music.
This technique involved editing together recorded fragments of natural and industrial sounds. Schaeffer employed a disk-cutting lathe, four turntables, a four-channel mixer, filters, an echo chamber, and a mobile recording unit.
Not long after this, Henry began collaborating with Schaeffer, a partnership that would have profound and lasting effects on the direction of electronic music. The performance did not go well, as creating live montages with turntables had never been done before. In Paris in , in what was to become an important worldwide trend, RTF established the first studio for the production of electronic music.
Also in , Schaeffer and Henry produced an opera, Orpheus , for concrete sounds and voices. The direct parent was 2-step garage , another subgenre that emerged in the transition to the new millennium, which fundamentally invented its rhythm and which reached the peak of popularity with Artful Dodger and Craig David.
Dubstep was the last electronic wave globally loved by the genre audience, and much missed nowadays. Key artists: Burial above , Skream , Benga first wave , Sepalcure post-dubstep and Skrillex brostep drift and genre decline. All together cheerfully to give different faces to an increasingly complex and colorful musical universe, able to include everything.
In this way, we arrived at the new decade. This is the spirit that still possesses electronic music in the s. You still have the feeling that the prerogatives are endless, but they must be found between the cracks, in the tiny spaces between one intuition and another, while the past still stands out for its weight in quantitative and qualitative terms.
There are not many new trends that emerged in this decade, but there are many small explosions invented by a handful of artists, who in a more or less obvious way have made trends. The biggest one so far is probably the EDM that has been discussed so much: a new recovery in commercial dance landed together with new software for music production, which have opened up new possibilities for a wider generation of artists.
Names like Avicii , Zedd and Martin Garrix were born, the wave lasted for several years until it met its natural decline something that is actually part of the natural cycles of the commercial front: 4 years of enthusiasm followed by a moment of rearrangement. Besides EDM, the biggest new trend emerged in the 10s is probably the modern definition of trap music : something that actually comes from s rap but that, starting from , built up a second wave of intelligent patterns and futuristic visions.
Meanwhile, pop music is contaminated by the many underground intuitions and also ends up clearing the so-called future bass , a strange mix of vocal parts and lively rhythms that marked the middle of the decade Flume , for example. And the postmodern current is already on the scene, with the so-called PC music that rewrites a bit the rules of the interaction of music towards the public Sophie, below, is the perfect summary.
And the story goes on. Here we stop, at least for the moment. So far, electronic music has been a young rebel who has taken on her shoulders the burdens of giving experimental charge and new ideas to the course of music over the last 40 years. He did it instinctively, but he had already peaks of absolute quality. The spirit is still the young one, as the protagonists of the scene are and the feeling is that it can still offer more initiatives before reaching a possible utopian?
There is still all possible vitality, and possibilities too. The real challenge at this point is to stay original. And it becomes increasingly difficult. Below you will find the main macrogenres of electronic music, and for each of them the main names of the first phase of that genre. Obviously, for every genre the story continued even in the following decades and a good analysis also includes the names that gave continuity to that genre over the decades. For example, for techno we listed the main names of the early years, but in next deepening phase you will have to get acquainted with later names like Ricardo Villalobos, Basic Channel and Paul Kalkbrenner.
This type of study will come naturally once you investigate the history of every single genre. We will help you over time by publishing mini-stories for various genres in the future, and you will find the links below. This site uses Akismet to reduce spam. By the s composers were using them to play short recordings in performances. Increased experimentation with record players followed the introduction of electronic recording in Paul Hindemith and Ernst Toch composed several pieces in by layering recordings of instruments and vocals at adjusted speeds.
Concurrently, composers began to experiment with newly-developed sound-on-film technology. Recordings could be spliced together to create sound collages.
Further, the technology allowed sound to be graphically created and modified. These techniques were used to compose soundtracks for several films in Germany and Russia, in addition to the popular Dr.
Jekyll and Mr. Hyde in the United States. Experiments with graphical sound were continued by Norman McLaren from the late s. The first practical audio tape recorder was unveiled in Improvements to the technology were made using the AC biasing technique, which significantly improved recording fidelity. As early as , test recordings were being made in stereo.
Although these developments were initially confined to Germany, recorders and tapes were brought to the United States following the end of World War II. These were the basis for the first commercially-produced tape recorder in Magnetic audio tape opened up a vast new range of sonic possibilities to musicians, composers, producers and engineers.
Audio tape was relatively cheap and very reliable. Its fidelity of reproduction was better than any audio medium to date. Most importantly, unlike discs, it offered the same plasticity of use as film. You can slow down tape, speed it up or even run it backwards during recording or playback, often with startling effects. It is possible to edit tape physically in much the same way as film. This allows for seamlessly removing or replacing unwanted sections of a recording. Likewise, you can edit in segments of tape from other sources.
You can also join tape to form endless loops that continually play repeated patterns of pre-recorded material. Finally, it allowed simultaneously recording onto another tape with relatively little loss of fidelity.
Another unforeseen windfall was the possibility of relatively easily modifying tape recorders to become echo machines. That way they can produce complex, controllable, high-quality echo and reverberation effects. Most of these effects would be practically impossible to achieve by mechanical means. The spread of tape recorders eventually led to the development of electroacoustic tape music. He recorded the sounds of an ancient zaar ceremony using a cumbersome wire recorder.
At the Middle East Radio studios he processed the material using reverberation, echo, voltage controls, and re-recording. The resulting work was entitled The Expression of Zaar. The presentation was in at an art gallery event in Cairo. But El-Dabh is also notable for his later work in electronic music at the Columbia-Princeton Electronic Music Center in the late s.
Pierre Schaeffer presenting the Acousmonium that was consisted of 80 loudspeakers for tape playback, at GRM. Phonogene , a tape machine for modifying the sound structure, developed by Pierre Schaeffer et al. He went on to collaborate with Pierre Henry. Schaeffer employed a disk-cutting lathe, four turntables, a four-channel mixer, filters, an echo chamber and a mobile recording unit. Not long after this, Henry began collaborating with Schaeffer.
It was a partnership that would have profound and lasting effects on the direction of electronic music. Schaeffer used a PA system, several turntables and mixers. The performance did not go well, as creating live montages with turntables had never been done before. Later that same year, Pierre Henry collaborated with Schaeffer on Symphonie pour un homme seul the first major work of musique concrete.
In Paris in , in what was to become an important worldwide trend, RTF established the first studio for the production of electronic music. Also in , Schaeffer and Henry produced an opera, Orpheus, for concrete sounds and voices.
It would become the most famous electronic music studio in the world. In his thesis he conceived the idea to synthesize music entirely from electronically produced signals. With Stockhausen and Mauricio Kagel in residence, it became a year-round hive of charismatic avante-gardism. This refers to two occasions that combined electronically generated sounds with relatively conventional orchestras. His last work in the medium was Cosmic Pulses Designated tone cabinet for Yamaha Magna Organ The earliest electronic musical instruments in Japan, Yamaha Magna Organ were built in However, after World War II, Japanese composers such as Minao Shibata were aware of farther developments of electronic musical instruments.
By the late s, Japanese composers began experimenting with electronic music. Institutional sponsorship enabled them to experiment with cutting-edge equipment.
Following the foundation of electronics company Sony in , composers Toru Takemitsu and Minao Shibata independently conceived possible uses for electronic technology to produce music. Shibata foresaw the development of synthesizers and predicted a drastic change in music. Sony began producing popular magnetic tape recorders for government and public use.
The company hired Toru Takemitsu to demonstrate their tape recorders with compositions and performances of electronic tape music. They were composed in by Kuniharu Akiyama. Many of the electroacoustic tape pieces they produced were used as incidental music for radio, film, and theatre. They also held concerts employing a slide show synchronized with a recorded soundtrack. They were also experimenting with radiophonic tape music between and From , he composed tape music pieces for a comedy film, a radio broadcast, and a radio drama.
They were mainly interested in overcoming the restrictions of human performance. This led to several Japanese electroacoustic musicians making use of serialism and twelve-tone techniques. The NHK Studio was equipped with technologies such as tone-generating and audio processing equipment, recording and radiophonic equipment, Ondes Martenot, Monochord and Melochord, sine-wave oscillators, tape recorders, ring modulators, band-pass filters and four- and eight-channel mixers.
In the United States, electronic music was being created as early as He used two variable-speed turntables, frequency recordings, a muted piano and cymbal. He used no electronic means of production. They were mostly for percussion ensemble, though No. That was three years after his alleged collaboration. The project lasted three years until 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.
The group had no permanent facility. They had to rely on borrowed time in commercial sound studios, including the studio of Louis and Bebe Barron. In the same year Columbia University purchased its first tape recorder —a professional Ampex machine— for the purpose of recording concerts. Vladimir Ussachevsky was on the music faculty of Columbia University. He was placed in charge of the device and almost immediately began experimenting with it. Herbert Russcol wrote:.
Soon he was intrigued with the new sonorities he could achieve. He recorded musical instruments and then superimposed them on one another. I suddenly realized that the tape recorder could be treated as an instrument of sound transformation. 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.
The equipment at his disposal consisted of an Ampex tape recorder and a simple box-like device. The box-like device was designed by Peter Mauzey and enabled him to create feedback, a form of mechanical reverberation. Other equipment was borrowed or purchased with personal funds. 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.
They played some early pieces informally at a party. Word quickly reached New York City. Oliver Daniel telephoned and invited the pair to produce a group of short compositions for the October concert. After some hesitation, they agreed. Henry Cowell placed his home and studio in Woodstock, New York, at their disposal.
It was an impressionistic virtuoso piece, using manipulated recordings of flute. The concert also included Low Speed Low Speed is an exotic composition that took the flute far below its natural range.
They were asked to do an interview demonstration. It was the first televised electroacoustic performance. Luening described this event:.
I improvised some sequences for the tape recorder. Ussachevsky then and there put them through electronic transformations. Three major works were premiered that year. Both for orchestra and tape. It was a group made up of wind instruments, percussion and piano alternates. It had mutated sounds of factory noises, ship sirens and motors, coming from two loudspeakers. The tape controls were operated by Karlheinz Stockhausen.
It also suggested the deserts in the mind of man. And it suggested not only those stripped aspects of nature that suggest bareness, aloofness and timelessness. It also suggested that remote inner space no telescope can reach, where man is alone; a world of mystery and essential loneliness.
This device was actually a special-purpose, digitally controlled analogue computer. It was the first electronic music synthesizer in which not only a large range of sounds could be produced and sequenced but also be programmed by the user. He had developed the earliest known electronic tape music in After this he became more famous for Leiyla and the Poet.
This was a series of electronic compositions that stood out for its immersion and seamless fusion of electronic and folk music. This aspect contrasted the more mathematical approach used by serial composers of the time such as Babbitt. This music would be cited as a strong influence by a number of musicians. An important new development was the advent of computers for the purpose of composing music, as opposed to manipulating or creating sounds.
Iannis Xenakis began what is called musique stochastique, or stochastic music. This is a composing method that uses mathematical probability systems.
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