History of Electroacoustic Music
电子声学音乐历史/Dian4 Zi3 Sheng1 Xue2 Yin1 Yue4 Li4 Shi3
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Under this header can be found studies of electroacoustic music from historical perspectives. Historical surveys have tended to follow traditional lines, of tracing the development of particular individuals, artistic movements or trends, and institutions.
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1877
• Thomas Edison invents the phonograph.
1914
• Russolo conducts the first public performance of music composed for his intonarumori (noise instrument).
1931
• Varese composes Ionisation, the first European composition written solely for percussion.
1948
• Pierre Schaeffer debuts his first musique concrète compositions in a “Concert of Noises” broadcast over French radio.
1950
• Schaeffer and Pierre Henry complete Symphonie pour un homme seul (Symphony for a Man Alone), their musique concrète masterpiece.
1951
• Cage composes two key indeterminate compositions: Imaginary Landscape No.4 for 12 radios, and Music of Changes, composed by tossing coins to determine pitch, duration, and attack.
• Schaeffer and Henry establish a studio at the Radiodiffusion Television Françoise(French Radio-Television) called Groupe de Recherché de Musique Concrète, which soon host Pierre Boulez, Karlheinz Stockhausen, lannis Xenakis and others. (In 1957, the studio would change its name to Group de Recherché Musicales [GRM].)
• Werner Meyer-Eppler, Herbert Eimert, and Stockhausen establish an electronic music studio at Westdeutscher Rundfunk(West German Radio) in Cologne. Eschewing concrete sounds for pure electronic synthesis, the studio come to represent a methodology that rivals musique concrète : elektronische Musik
1952
• Cage composes the famous “slient piece” 4’33’’, which calls upon the performer to make no intentional sounds, and Williams Mix, which cuts up and splices together more than 500 bits of found sound.
• Earle Brown composes Folio, a pioneering set of graphic scores that includes December 1952.
• Otto Luening and Vladimir Ussachevsky begin to construct an electronic music studio at Columbia University.
1956
• Stockhausen completes the electronic composition Gesang der Jünglinge.
1958
• Varèse composes Poème électronique and Xenakis composes Concret P-H for the Brussels Exposition’s Philips Pavilion, designed by Le Corbusier and Xenakis.
1957-59
• At Bell Labs, Max Matthews begins experimenting with computer programs to create sound material.
1960
• Stockhausen complete the electronic composes Kontakte.
1961
• First Concert of works by members of the Columbia-Princeton Electronic Music Center, officially established at Columbia University in 1959 by Lenin, Ussachevsky, and Milton Babbit.
• In Ann Arbor, Michigan, Robert Ashley and Gordon Mumma establish the annual ONCE Festival of experimental music and multi-media performance.
1964
• Riley composes In C, the first popular classic of music minimalism.
1965
• Steve reich produces his tape-recorder compositions It’s Gonna Rain and Come Out, early classics of minimalism and experimental music.
• The Beatles experiment with tape collage on “Tomorrow Never Knows.”
1967
• Stockhusen composes Hymnen, a tape collage of national anthems from around the world.
• Cardeew completes his massive graphic score Treatise.
1968
• David Tudor composes Rainforest, an early masterpiece of live electronic music.
1969
• Cardew convenes the Scratch Orchestra, a large collective of amateur musicians and non-musicians who perform part his work-in-progress The Great Learning. Among the Orchestra’s members are Brian Eno and Bryars, who founds his own amateur orchestara, the Portsmouth Sinfonia, the same year.
1971
• Due to internal criticism from communist members, The Scratch Orchestra dissolves and Cardew becomes a devoted Marxist-Leninist. Invited by the BBC to introduce a performance by his former teacher and mentor Stockhausen, Cardew delivers a speech titled “Stockhausen Serves Imperialism.”
1972
• King Tubby invents dub (and, in the process, the remix), dropping sounds in and out of the mix and adding reverb and delay to instrumental reggae B-sides.
1973
• Canadian composer R. Murray Schafer publishes The Music of the Environment, an early version of his magnum opus The Tuning of the World (1977), and releases the LP The Vancouver Soundscape.
1974
• In the early days of disco and HipHop, DJs Kool Herc and Francis Grasso isolate breakbeats and extend them with the use of two turntables.
1976
• The Romones self-titled debut launches punk rock in the United States.
1977
• Kraftwerk releases Trans-Europe Express.
• DJ Grand Wizard Theodore invents scratching.
1978
• Eno produces No New York, a compilation that documents New York’s experimental No Wave scene, and releases Music for Airports, which invents Ambient music.
1979
• Art turntablist Christian Marclay begins his early experiments.
• George Lewis releases Homage to Charles Parker, featuring key members of the AACM alongside MEV’s Richard Teitelbaum.
• The Fatback Band and The Sugar Hill Gang release the first HipHop singles.
• Public Image Ltd releases Metal Box, which fuses punk rock, dub, and Krautrock.
1980
• Sony introduces the Walkman.
• Industrial music quintet Einstürzende Neubauten froms in Berlin.
1982
• The first compact discs come on the market.
1983
• House music is born in Chicago with Jesse Saunders and Vince Lawrence’s “On and On.”
1985
• Techno is launched in Detroit with the release of Model 500’s “No UFOs.”
1986
• Miller Puckette develops MAX, which would become the major software tool for live computer improvisation.
1989
• John Oswald releases Plunderphonic, a CD containing humorous and inventive manipulations of songs by Dolly Parton, Public Enemy, The Beatles, and Michael Jackson. A year later, threatened by lawyers representing Jackson, Oswald is forced to destroy the remaining copies.
1990
• Sony introduces the recordable CD.
1992
• Warp Record releases Artificial Intelligence, a compilation that establishes the genres of “intelligent Techno” and “electronica.”
1994
• Apex Twin releases Selected Ambient Works Volume 2, a founding document of Ambient electronic.
1995
• Simon Reynolds coins the term “post-rock” in articles for the Village Voice and The Wire.
• The term “turntablism” is coined by DJ Babu of the Beat Junkies crew.
• The internet becomes widely available.
1996
• DJ spooky releases his full-length debut, Songs of a Dead Dreamer, performs with composer Xenakis, and coins the term “illbient” to refer to his own music and that of Brooklyn DJ outfits Byzar, We, and Sub Dub.
• William and Patricia Parker mount the first annual Vision festival, a gathering of free jazz musicians and artists that attracts an avant-rock crowd.
1998
• MP3 players come on the market.
2001
• Philip Sherbume coins the term “MicroHouse” to characterize the stripped-down House productions of Vladislav Delay, Jan Jelinek, Thomas Brinkmann, Ricardo Villalobos and others.
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