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Electronic music is a genre of music that employs electronic musical instruments , digital instruments, or circuitry-based music technology in its creation. It includes both music made using electronic and electromechanical means electroacoustic music.

Pure electronic instruments depended entirely on circuitry-based sound generation, for instance using devices such as an electronic oscillator , theremin , or synthesizer. Electromechanical instruments can have mechanical parts such as strings, hammers, and electric elements including magnetic pickups , power amplifiers and loudspeakers. Such electromechanical devices include the telharmonium , Hammond organ , electric piano and the electric guitar.

The first electronic musical devices were developed at the end of the 19th century. During the s and s, some electronic instruments were introduced and the first compositions featuring them were written.

By the s, magnetic audio tape allowed musicians to tape sounds and then modify them by changing the tape speed or direction, leading to the development of electroacoustic tape music in the s, in Egypt and France.

Music produced solely from electronic generators was first produced in Germany in Electronic music was also created in Japan and the United States beginning in the s and Algorithmic composition with computers was first demonstrated in the same decade.

During the s, digital computer music was pioneered, innovation in live electronics took place, and Japanese electronic musical instruments began to influence the music industry. In the early s, Moog synthesizers and Japanese drum machines helped popularize synthesized electronic music. The s also saw electronic music begin to have a significant influence on popular music , with the adoption of polyphonic synthesizers , electronic drums , drum machines, and turntables , through the emergence of genres such as disco , krautrock , new wave , synth-pop , hip hop , and EDM.

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 s, with the proliferation of increasingly affordable music technology, electronic music production became an established part of popular culture.

At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments. The audiences were presented with reproductions of existing music instead of new compositions for the instruments. It achieved viable public interest and made commercial progress into streaming music through telephone networks.

Critics of musical conventions at the time saw promise in these developments. Ferruccio Busoni encouraged the composition of microtonal music allowed for by electronic instruments. He predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music They predicted expansions in timbre allowed for by electronics in the influential manifesto The Art of Noises Developments of the vacuum tube led to electronic instruments that were smaller, amplified , and more practical for performance.

From the late s, the increased practicality of electronic instruments influenced composers such as Joseph Schillinger to adopt them. They were typically used within orchestras , and most composers wrote parts for the theremin that could otherwise be performed with string instruments. Avant-garde composers criticized the predominant use of electronic instruments for conventional purposes.

Developments in early recording technology paralleled that of electronic instruments. The first means of recording and reproducing audio was invented in the late 19th century with the mechanical phonograph. The introduction of electrical recording in was followed by increased experimentation with record players. 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. 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 In , before the use of magnetic tape for compositional purposes, Egyptian composer Halim El-Dabh , while still a student in Cairo , used a cumbersome wire recorder to record sounds of an ancient zaar 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. 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 Columbia-Princeton Electronic Music Center in the late s.

In the late s, experiments in sound-based composition using shellac record players were first conducted by Schaeffer. In , the techniques of musique concrete were expanded when magnetic tape machines were used to explore sound manipulation practices such as speed variation pitch shift and tape splicing.

Schaeffer employed a disc cutting lathe , four turntables, a four-channel mixer, filters, an echo chamber, and a mobile recording unit. Not long after this, Pierre Henry began collaborating with Schaeffer, a partnership that would have profound and lasting effects on the direction of electronic music.

The tape parts were created at Pierre Schaeffer’s studio and were later revised at Columbia University. 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. In Cologne, what would become the most famous electronic music studio in the world, was officially opened at the radio studios of the NWDR in , though it had been in the planning stages as early as and early compositions were made and broadcast in In , Stockhausen composed his Studie I , followed in by Elektronische Studie II —the first electronic piece to be published as a score.

In , more experimental and electronic studios began to appear. The earliest group of electronic musical instruments in Japan, Yamaha Magna Organ was built in By the late s, Japanese composers began experimenting with electronic music and institutional sponsorship enabled them to experiment with advanced equipment.

Their infusion of Asian music into the emerging genre would eventually support Japan’s popularity in the development of music technology several decades later. Following the foundation of electronics company Sony in , composers Toru Takemitsu and Minao Shibata independently explored possible uses for electronic technology to produce music. The company hired Toru Takemitsu to demonstrate their tape recorders with compositions and performances of electronic tape music.

They also held concerts employing a slide show synchronized with a recorded soundtrack. From , he composed tape music pieces for a comedy film, a radio broadcast, and a radio drama. 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.

Cage composed five more “Imaginary Landscapes” between and one withdrawn , mostly for percussion ensemble, though No. According to Otto Luening, Cage also performed a William [ sic ] Mix at Donaueschingen in , using eight loudspeakers, three years after his alleged collaboration.

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. In the same year Columbia University purchased its first tape recorder—a professional Ampex 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. 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.

Other equipment was borrowed or purchased with personal funds. Just three months later, in August , 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. 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. After some hesitation, we agreed. Henry Cowell placed his home and studio in Woodstock, New York, at our disposal. With the borrowed equipment in the back of Ussachevsky’s car, we left Bennington for Woodstock and stayed two weeks.

In late September , the travelling laboratory reached Ussachevsky’s living room in New York, where we eventually completed the compositions. The concert included Luening’s Fantasy in Space —”an impressionistic virtuoso piece” [65] using manipulated recordings of flute—and Low Speed , an “exotic composition that took the flute far below its natural range. 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. The score for Forbidden Planet , by Louis and Bebe Barron , [67] was entirely composed using custom-built electronic circuits and tape recorders in but no synthesizers in the modern sense of the word.

In it publicly played the Colonel Bogey March , of which no known recordings exist, only the accurate reconstruction. The oldest known recordings of computer-generated music were played by the Ferranti Mark 1 computer, a commercial version of the Baby Machine from the University of Manchester in the autumn of The impact of computers continued in Lejaren Hiller and Leonard Isaacson composed Illiac Suite for string quartet , the first complete work of computer-assisted composition using algorithmic composition.

Hiller postulated that a computer could be taught the rules of a particular style and then called on to compose accordingly. Vocoder technology was also a major development in this early era. An important technological development of that year was the invention of the Clavivox synthesizer by Raymond Scott with subassembly by Robert Moog. 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.

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. This piece existed in two versions—one for 4-channel tape, and the other for tape with human performers. This new approach, which he termed ‘moment form’, resembles the ‘cinematic splice’ techniques in early twentieth-century film.

The theremin had been in use since the s but it attained a degree of popular recognition through its use in science-fiction film soundtrack music in the s e. One of the most influential British electronic artists in this period [79] was Workshop staffer Delia Derbyshire , who is now famous for her electronic realisation of the iconic Doctor Who theme , composed by Ron Grainer.

 
 

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