ccc almora ccc

Live electronics
Main article: Live electronic music
See also: electroacoustic improvisation and List of electronic music festivals

In America, live electronics were pioneered in the early 1960s by members of Milton Cohen's Space Theater in Ann Arbor, Michigan, including Gordon Mumma and Robert Ashley, by individuals such as David Tudor around 1965, and The Sonic Arts Union, founded in 1966 by Gordon Mumma, Robert Ashley, Alvin Lucier, and David Behrman. ONCE Festivals, featuring multimedia theater music, were organized by Robert Ashley and Gordon Mumma in Ann Arbor between 1958 and 1969. In 1960, John Cage composed Cartridge Music, one of the earliest live-electronic works.

The Jazz composers and musicians Paul Bley and Annette Peacock performed some of the first live concerts in the late 60's using Moog synthesisers. Peacock made regular use of a customised Moog synthesiser to process her voice on stage and in studio recordings.

In Europe in 1964, Karlheinz Stockhausen composed Mikrophonie I for tam-tam, hand-held microphones, filters, and potentiometers, and Mixtur for orchestra, four sine-wave generators, and four ring modulators. In 1965 he composed Mikrophonie II for choir, Hammond organ, and ring modulators.

In 1966–67, Reed Ghazala discovered and began to teach "circuit bending"—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 John Cage’s aleatoric music concept.[52]
[edit] 1970s to mid-80s

In 1970, Charles Wuorinen composed Time's Encomium, the first Pulitzer Prize winner for an entirely electronic composition. The 1970s also saw the use of synthesisers in mainstream rock music with examples including Pink Floyd, Tangerine Dream, Yes and Emerson, Lake & Palmer.[citation needed]
[edit] Synthesizers
See also: Minimoog, Modular synthesizer, Buchla, ARP Instruments,Inc., Electronic Music Studios, and Korg

Released in 1970 by Moog Music the Mini-Moog was among the first widely available, portable and relatively affordable synthesizers. It became the most widely used synthesizer in both popular and electronic art music.[53] In 1974 the WDR studio in Cologne acquired an EMS Synthi 100 synthesizer which was used by a number of composers in the production of notable electronic works—amongst others, Rolf Gehlhaar's Fünf deutsche Tänze (1975), Karlheinz Stockhausen's Sirius (1975–76), and John McGuire's Pulse Music III (1978).[54]
[edit] IRCAM
Main article: IRCAM

IRCAM in Paris became a major center for computer music research and realization and development of the Sogitec 4X computer system,[55] featuring then revolutionary real-time digital signal processing. Pierre Boulez's Répons (1981) for 24 musicians and 6 soloists used the 4X to transform and route soloists to a loudspeaker system.
[edit] Rise of popular electronic music
See also: Progressive rock, Berlin School of electronic music, Krautrock, Space rock, and Synthpop

Throughout the seventies bands such as The Residents and Can spearheaded an experimental music movement that incorporated electronic sounds. Can were one of the first bands to use tape loops for rhythm sections and The Residents created their own custom built drum machine.[citation needed] The German band Kraftwerk took a more purely electronic approach on records such as 1974's Autobahn.[vague] Other artists in the 1970s who composed primarily electronic instrumental music and managed to reach beyond the academic sphere and into the popular realm,[vague] were Jean Michel Jarre, Tangerine Dream, Klaus Schulze, and Vangelis. Also in the 1970s, rock bands from Genesis to The Cars began incorporating synthesizers into traditional rock arrangements. Notably, British synthesist Brian Eno collaborated with rock performers such as David Bowie and Roxy Music.[citation needed]

In 1979, UK recording artist Gary Numan helped to bring electronic music into the wider marketplace of pop music with his hit "Cars" from the album The Pleasure Principle. Other successful hit electronic singles in the early 1980s included "Just Can't Get Enough" by Depeche Mode, "Don't You Want Me" by The Human League, "Whip It!" by Devo, and finally 1983's "Blue Monday" by New Order, which became the best-selling 12-inch single of all time.[56] The Swiss duo Yello, Trevor Horn's Art of Noise, Naked Eyes, Prince, Kate Bush, Peter Gabriel, and Depeche Mode further incorporated early samplers like the Synclavier, Fairlight CMI, and E-mu Emulator into their hit records.