At this time, the first electronic music studios were established. Delia Derbyshire from BBC Radiophonic Workshop became widely-renowned for her 1963 electronic rendition of Doctor Who theme theme.
Schaeffer held the inaugural public performance of musique concrete music in France. This type of performance explored timbre rather than pitch and rhythm.
The first electronic music studios were established
Before affordable modular synthesizers became widely available, electronic music studios were established by large educational institutions like Columbia University (USA) and national broadcasters like WDR in Cologne. Such organisations could afford the costly equipment required and had enough room for dedicated studios.
Werner Meyer-Eppler pioneered electronic music studios by developing a system for creating compositions directly onto magnetic tape, an important advancement over previous efforts which used an analog computer to manipulate existing sounds such as bells, flutes and horns.
Significant studios include EMS Studios in Stockholm and Fylkingen, Sweden – known for producing Swedish avant-garde composers like Leo Nilsson – as well as the Institut de Recherche et Coordination Acoustique/Musique in Paris (IRCAM), which serves as a major center of modern computer music research. Jean-Jacques Perrey was a pioneer of both the Moog synthesizer as well as Ondioline synths such as DJ Premier sampled, who created both early prototype synths before moving onto other instruments like Ondioline synths; his Silver Apples album which combined garden variety rock with oscillators sounds is essential listening experience for modern audiences alike.
The first electronic music concerts were held
The first electronic music concerts took place during the 1950s, featuring innovative composers such as Milton Babbitt and Karlheinz Stockhausen presenting experimental pieces. These early experiments served as precursors for modern computer music combining traditional composition with sophisticated algorithms; with their development came numerous genres such as acid house, techno and synthpop.
Paul Hindemith was among the early electronic music pioneers, using sound speed adjustment technology in Imaginary Landscape No 1 to create an atmospheric landscape of sounds. John Cage experimented with tape techniques; Indeterminacy from 1952 exemplifies this elegant melodic sensibility which set him apart from other concrete composers of his day.
The Barrons earned their Forbidden Planet commission after sneaking into a party hosted by MGM President, Jerry Perenchio. Their thrilling sonic apocalypse created for Forbidden Planet included blasts and whooshes, bass tones that resonate deep inside one’s chest and enough tremolo to induce labor! Finders Keepers sublabel Cacaphonic have recently reissued this essential listen with great care and respect.
The first electronic music compositions were published
As tape recorders became a mainstream part of everyday household technology, additional innovations in recording technology led to innovations like sound speed adjustment and sound-on-film. These technologies facilitated experimentation with both acoustic and electronic music forms.
Silver Apples of the Moon by Jean-Jacques Perrey was one of the earliest recordings. While its appearance may suggest otherwise, this album stands out for being one of the first extended compositions released commercially.
Christer Rabe was another key figure during this era, working closely with Terry Riley and Pauline Oliveros. His signature piece “Was??”, using layers of harmonic sounds, may have been one of the first electronic musicians to abandon traditional instruments for their monolithic qualities; its haunting sound reminds one of a physiotherapist working on stiff neck. Listeners could ‘hear in’ these tranquil drones to detect even minute variations in pitch changes.
The first electronic music festivals were held
At the close of the decade, large electronic music festivals began popping up across Europe, exposing alternative music to an entirely new audience. These festivals featured genres including house, techno, and trance music; in addition, industry conferences began taking place providing discussions and networking opportunities between musicians and producers along with updates about latest trends within the music industry.
The 50s also saw the introduction of more advanced musical instruments. This included electronic drum machines and synthesizers which allowed for an array of sounds to be generated, becoming increasingly popular among Japanese audiences, particularly as more affordable versions such as Matsushita and Yamaha offered their versions.
Although the Moog’s signature rickety hydraulic hum often gets all of the glory (with many early users being mistakenly labeled ‘The Beatles’), two significant pioneering pieces came out during this era as well. Mort Garson composed and recorded his avant-garde suite “Silver Apples of the Moon” within 13 months using a Buchla 100 synth – one of its kind at that time.
The first electronic music recordings were made
As a genre, contemporary classical was still very new, yet important composers were already exploring its possibilities. Pierre Henry created tape compositions in the 1950s using various mediums such as variable speed turntables, frequency recordings and muted piano and cymbal sounds; many were largely improvised but nonetheless represented the beginnings of a distinct musical medium that could stand apart from instrumental music.
Italian electronic artists were pioneering when it came to using synthesizers and other electronic instruments in their works, often making innovative use of abstract melodies or rhythms, with Marinuzzi being particularly notable as one of these Italian composers. His Symphony No. 3 proved particularly influential.
Silver Apples’ offerings should also be found in any serious audiophile’s collection; their music spanned from rock to classic pop and jazz genres. Jean-Jacques Perrey was an expert Ondioline player; his drip-drop pieces for infants as well as his rendition of ‘Flight Of The Bumblebee’ using real bee noises is essential listening for anyone interested in early electronica music.
The first electronic music bands were formed
In the late 1960s, electronic music began blending with other musical genres to form new ones such as rock and pop music. Renowned musicians such as Silver Apples and Beach Boys began incorporating oscillators and synthesizers into their sound, setting in motion an important milestone in its development and what later became known as electronica and techno.
As early milestones of electronic music were accomplished at technology fairs – places where the curious could witness astounding inventions and state-of-the-art devices – they served as platforms for breakthroughs to occur in electronic music. One such event took place at a World’s Fair in 1924 with Novachord being unveiled there; later on Edgard Varese performed Poeme Electronique for its world premier at another technology fair in 1958.
Raaijmakers and Dissevelt collaborated at the Royal Philips Electronics lab in Eindhoven to produce electronic pop music incorporating oscillator tones and acoustic sound sources, producing this early 10” album of beguiling machine mutterings that could range from featherlight to chilling. Mort Garson followed suit later with Zodiac: Cosmic Sounds (1967), which featured rock elements in its soundscape centred around 12 zodiac signs.
The first electronic music albums were released
Electronic music has gained in popularity during the 2000s and 2010s thanks to technological innovations like digital audio workstations and musical software, enabling users to easily produce complex sounds with minimal equipment. They have also contributed greatly to shaping the genre by giving birth to subgenres such as dance music and synth-pop.
Silver Apples of the Moon was one of the early electronic music albums by Morton Subotnick and marked a landmark achievement: this was the first large-scale commission piece of electronic music released as an album rather than live performance; also, electronic music had finally become seen as a composeral art form rather than just experimental technology.
Jean-Jacques Perrey’s The In Sound From Way Out was an early electronic music release and an essential precursor to the Moog synthesizer, being recorded simultaneously using multiple electronic instruments and also making its first commercial recording debut as part of its commercial debut. Although often forgotten, this record served as an important step on its path toward its eventual introduction in mainstream popular culture.
The first electronic music videos were made
In the 1950s, circuit bending technology enabled musicians to craft innovative electronic instruments. Multitrack recording technology was also introduced at this time, enabling sound sources from separate tracks to be recorded separately and permitting for complex arrangements to be produced by musicians. Finally, stereo recording made its debut, providing listeners with an enhanced listening experience by creating more lifelike audio environments.
This decade saw electronic music emerge into mainstream culture. Married couple Louis and Bebe Barron used tape manipulation to produce their first electronic work, Forbidden Planet. Utilizing oscillators, overloaded circuits and tape reverse, they experimented with unusual sounds such as whooshes, lowing machinery and tremolo that still amaze.
Kid Baltan (Dick Raaijmakers) and Tom Dissevelt’s 1957 song of the Second Moon was the first album featuring an ondes Martenot noise-based track; Varese’s Poeme Electronique featured acoustic instruments with recordings of altered or recreated sounds.