Springer Nature is making SARS-CoV-2 and COVID-19 research free. Zverev, Handbook of Filter Synthesis, New York: Wiley, 1967. Daniels, Approximation Methods for Electronic Filter Design, New York: McGraw-Hill, 1974. Dipartimento di Elettronica, Politecnico di Torino, Torino, Italy.

WorldWide Electroactive Polymer Actuators* Webhub * Artificial Muscles This homepage provides links to various electroactive polymer (EAP) websites worldwide and it is maintained by the. For background information please see entitled ”. The field of EAP is part of the broader field of Note: The graphics on this website is clickable. The graphics of the two EAP platforms are linked to videos that require QuickTime. In 1999, posed a challenge to the worldwide research and engineering community to develop a robotic arm that is actuated by artificial muscles to win an. The first Armwrestling Match between EAP actuated Robot and Human (AMERAH) was held on March 7, 2005 as part of the 2005 SPIE Annual International This match was organized with assistance from the who provided the table for the match.

There were including Environmental Robots Incorporated (ERI), New Mexico; Swiss Federal Laboratories for Materials Testing and Research, EMPA, Dubendorf, Switzerland; and three senior students from the Engineering Science and Mechanics Dept., Virginia Tech. The human opponent is, a Straight-A high school student from San Diego. Panna won against all the three robotic arms where the ERI made arm managed to last 26-seconds before losing while the other two managed to hold for 4 and 3 seconds, respectively. Even though they did not win, this has been a very important milestone for the field.

To draw analogy from aerospace, one may want to remember that the first flight lasted about 12 seconds. A video of the competition is available on the Some of the applications that are being considered include and particularly. WW-EAP INFORMATION AND ARCHIEVE Call for input to the upcoming issue of the PROPERTIES OF BIOLOGICAL AND ARTIFICIAL MUSCLES/EAP What are muscles? Lieber, UCSD (SPIE paper 3669-03) What are the names of human muscles? - A brief history of muscle research - How is muscles compared with conductive polymer EAP?

- How are EAP compared with other electroactive materials? - These tables and charts are based on preliminary data.

We would like to encourage the research community to challenge the data and help us make it as accurate as possible. Comparing the properties of EAP materials Properties of Biological and Artificial Muscles/EAP - Measured EAP properties: TECHNICAL JOURNAL RELATED TO EAP AND BIOMIMETICS ORGANIZATIONS WORKING WITH EAP Australia Brazil Canada Estonia, University of Tartu India Conductive Polymers -- Centro Polymer Science & Engineering, National Chemical Laboratory, Pune Israel, Ben-Gurion University, Beer- Sheva, Israel Plastic and Rubber Engineering, Materials and Processes, RAFAEL, Haifa, Israel Japan Ikeda Laboratory:1-8-31 Midorigaoka, Ikeda city, Osaka, Osaka National Research Institute, Osaka Dept. Of Computer & Systems Engineering, Kobe University Hane Lab, Department of Mechatronics and Precision Engineering, Tohoku University, Graduate school of Engineering, Sendai, Japan EAP nonionic polymer gel actuators, Department of Materials Chemistry, Faculty of Textile Science and Technology, Shinshu University Kyushu Institute of Technology, Fokuoka Gunma University, Maebashi Toshio Nippon Densan Corp., Shiga Olymous Optical Co.

Korea New Zealand, EUROPE Denmark England France l'Ecole Superieure de Physique et de Chimie Industrielles de la Ville de Paris Institut Curie - PARIS CEDEX 05, France, in collaboration with PG de Gennes Germany Hungary Italy Dept. Of Computers Science, University of Genoa, Genoa Russia Spain Sweden Switzerland Turkey USA Alabama Lab of Molecular Biophysics, University of Alabama, AL Arizona California Department of Applied Mechanics and Engineering Sciences, Center of Excellence for Advanced Materials, University of California, San Diego Connecticut Maryland Massachusetts Michigan Montana Montana State University, Dept. Of Physics, College of Letters and Science, Montana State University, Bozeman, MT New Jersey Allied Signal, Morristown, NJ Dept.

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• • • Electronic music is music that employs, digital instruments and. In general, a distinction can be made between sound produced using electromechanical means, such as and, and that produced using electronic technology. Electromechanical instruments include mechanical elements, such as strings, hammers, and so on, and electric elements, such as, and. Examples of electromechanical sound producing devices include the, and the, which are typically made loud enough for performers and audiences to hear with an and speaker cabinet. Pure electronic instruments do not have vibrating strings, hammers, or other sound-producing mechanisms.

Devices such as the, and can produce electronic sounds. The first electronic devices for performing music were developed at the end of the 19th century, and shortly afterward Italian explored sounds that had not been considered musical. During the 1920s and 1930s, electronic instruments were introduced and the first compositions for electronic instruments were made. By the 1940s, magnetic audio tape allowed musicians to tape sounds and then modify them by changing the tape speed or direction, leading to the development of in the 1940s, in Egypt and France., created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds.

Music produced solely from electronic generators was first produced in Germany in 1953. Electronic music was also created in Japan and the United States beginning in the 1950s. An important new development was the advent of computers to compose music. Composition was first demonstrated in Australia in 1951. In the 1960s, live electronics were pioneered in America and Europe, Japanese electronic musical instruments began having an impact on the, and Jamaican emerged as a form of popular electronic music. In the early 1970s, the synthesizer and Japanese helped popularize synthesized electronic music. In the 1970s, electronic music began having a significant influence on, with the adoption of, drum machines, and, through the emergence of genres such as, and.

In the 1980s, electronic music became more dominant in popular music, with a greater reliance on synthesizers, and the adoption of programmable drum machines such as the and such as the. In the early 1980s, for synthesizers including such as the were popularized, and a group of musicians and music merchants developed the Musical Instrument Digital Interface (). Electronically produced music became prevalent in the popular domain by the 1990s, because of the advent of affordable music technology. Contemporary electronic music includes many varieties and ranges from to popular forms such as. Today, pop electronic music is most recognizable in its 4/4 form and more connected with the mainstream culture as opposed to its preceding forms which were specialized to niche markets.

Front page of in 1907, demonstrating the size, operation, and popularity of the At the turn of the 20th century, experimentation with led to the first. These initial inventions were not sold, but were instead used in demonstrations and public performances.

The audiences were presented with reproductions of existing music instead of new compositions for the instruments. While some were considered novelties and produced simple tones, the accurately the sound of orchestral instruments. It achieved viable public interest and made commercial progress into through. Critics of musical conventions at the time saw promise in these developments. Encouraged the composition of allowed for by electronic instruments.

He predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music. Such as and began composing to evoke the sound of. They predicted expansions in allowed for by electronics in the influential manifesto. Early compositions [ ]. Demonstrating the in 1927 Developments of the led to electronic instruments that were smaller, and more practical for performance.

In particular, the, and were commercially produced by the early 1930s. From the late 1920s, the increased practicality of electronic instruments influenced composers such as to adopt them. They were typically used within, and most composers wrote parts for the theremin that could otherwise be performed with. Criticized the predominant use of electronic instruments for conventional purposes. The instruments offered expansions in pitch resources that were exploited by advocates of microtonal music such as, and.

Further, used the theremin to abandon fixed tonation entirely, while Russian composers such as treated it as a source of noise in otherwise-acoustic. Recording experiments [ ] Developments in early paralleled that of electronic instruments. The first means of recording and reproducing audio was invented in the late 19th century with the mechanical. Record players became a common household item, and by the 1920s composers were using them to play short recordings in performances. The introduction of in 1925 was followed by increased experimentation with record players. And composed several pieces in 1930 by layering recordings of instruments and vocals at adjusted speeds. Influenced by these techniques, composed in 1939 by adjusting the speeds of recorded tones.

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Concurrently, composers began to experiment with newly developed technology. Recordings could be spliced together to create, such as those by, and. Further, the technology allowed sound to be.

These techniques were used to compose soundtracks for several films in Germany and Russia, in addition to the popular in the United States. Experiments with graphical sound were continued by from the late 1930s. Development: 1940s to 1950s [ ] Electroacoustic tape music [ ]. In 1958, Columbia-Princeton developed the, the first programmable.

Prominent composers such as Vladimir Ussachevsky, Otto Luening, Halim El-Dabh, and used the RCA Synthesizer extensively in various compositions. One of the most influential composers associated with the early years of the studio was Egypt's who, after having developed the earliest known electronic tape music in 1944, became more famous for Leiyla and the Poet, a 1959 series of electronic compositions that stood out for its immersion and seamless of electronic and, in contrast to the more mathematical approach used by composers of the time such as Babbitt. El-Dabh's Leiyla and the Poet, released as part of the album in 1961, would be cited as a strong influence by a number of musicians, ranging from, and to and. Mid-to-late 1950s [ ]. See also:, and These were fertile years for electronic music—not just for academia, but for independent artists as technology became more accessible. By this time, a strong community of composers and musicians working with new sounds and instruments was established and growing. 1960 witnessed the composition of Luening's for violin and tape as well as the premiere of Stockhausen's for electronic sounds, piano, and percussion.

This piece existed in two versions—one for 4-channel tape, and the other for tape with human performers. 'In Kontakte, Stockhausen abandoned traditional musical form based on linear development and dramatic climax. This new approach, which he termed 'moment form,' resembles the 'cinematic splice' techniques in early twentieth century film.' The had been in use since the 1920s but it attained a degree of popular recognition through its use in science-fiction film music in the 1950s (e.g., 's classic score for ). In the UK in this period, the (established in 1958) came to prominence, thanks in large measure to their work on the BBC science-fiction series. One of the most influential British electronic artists in this period was Workshop staffer, who is now famous for her 1963 electronic realisation of the iconic, composed.

See also: and Musical notes were first generated by a computer programmed by at the Computing Machine Laboratory of the in 1948. The first music proper, a performance of the was programmed by on the Mark II at same venue, in 1951. Later that year, short extracts of three pieces were recorded there by a outside broadcasting unit: the National Anthem, ', and '. Researchers at the, Christchurch restored the acetate master disc in 2016 and the results may be heard on., the first computer to play music in public did so in August 1951.

One of the first large-scale public demonstrations of was a pre-recorded national radio broadcast on the program on February 10, 1962. In 1961, programmed 's computer (a derivative of the ) to play simple, recognizable tunes through an amplified speaker that had been attached to the system originally for administrative and diagnostic purposes. An interview with Mr. Stuart accompanied his computer music.

Is also notable for her development of '—an Intelligent Instrument' (1986) for, and computers. The intelligent-instrument name refers to the program's built-in knowledge of chord and scale convention and stylistic constraints. She continued to update the program through Macintosh OS 9, and as of 2012, it remained available for purchase or demo download from her Web site. The late 1950s, 1960s and 1970s also saw the development of large mainframe computer synthesis. Starting in 1957, Max Mathews of Bell Labs developed the MUSIC programs, culminating in, a direct digital synthesis language Live electronics [ ].

Main article: Live electronics (or electroacoustic improvisation) is a form of experimental that developed in response to the rigidity of sound-based composition for fixed media such as, early studio based electronic music, and. Often plays a large role in the performance of this music.

[ ] In Europe in 1964, Karlheinz Stockhausen composed for, hand-held microphones, filters, and potentiometers, and Mixtur for orchestra, four generators, and four. In 1965 he composed for choir, Hammond organ, and ring modulators. In 1966–67, discovered and began to teach '—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 's [ ] concept. Japanese instruments [ ] In the 1960s, Japanese began having an impact on the international., who founded in 1960, invented the first.

At 1964, he revealed it as the R-1 Rhythm Ace, a hand-operated percussion device that played electronic drum sounds manually as the user pushed buttons, in a similar fashion to modern electronic drum pads. In 1963, released the, an electro-mechanical. In 1965, patented a fully electronic drum machine. Korg released the Donca-Matic DC-11 electronic drum machine in 1966, which they followed with the, which was developed as an option for the electric organ. Korg's Stageman and Mini Pops series were notable for 'natural metallic percussion' sounds and incorporating controls for drum ' and.'

In 1967, Ace Tone founder patented a preset rhythm-pattern generator using circuit, which he released as the FR-1 Rhythm Ace drum machine the same year. It offered 16 preset patterns, and four buttons to manually play each instrument sound (, and ). The rhythm patterns could also be cascaded together by pushing multiple rhythm buttons simultaneously, and the possible combination of rhythm patterns were more than a hundred. Ace Tone's Rhythm Ace drum machines found their way into from the late 1960s, followed by Korg drum machines in the 1970s. Kakehashi later left Ace Tone and founded in 1972, with and becoming highly influential for the next several decades.

The company would go on to have a big impact on, and do more to shape popular electronic music than any other company. Has origins in the invention of. Early were unsuitable for turntablism, since they had a slow start-up time, and they were prone to wear-and-tear and breakage, as the belt would break from backspin or scratching. The first direct-drive turntable was invented by Shuichi Obata, an engineer at (now ), based in,. It eliminated belts, and instead employed a motor to directly drive a platter on which a vinyl record rests. In 1969, Matsushita released it as the, the first direct-drive turntable on the market, and the first in their influential series of turntables. It was succeeded by the Technics SL-1100 and in the early 1970s, and they were widely adopted by, with the SL-1200 remaining the most widely used turntable in DJ culture for several decades.

Jamaican dub music [ ]. See also:, a form of popular electronic music [ ] emerged in the 1960s, rooted in culture. Dub music was pioneered by studio engineers, such as Sylvan Morris, and, producing -influenced with electronic sound technology, in recording studios and at sound system parties. Their experiments included forms of comparable to aspects of, an emphasis on repetitive rhythmic structures (often stripped of their harmonic elements) comparable to, the electronic manipulation of spatiality, the sonic electronic manipulation of pre-recorded musical materials from mass media, toasting over pre-recorded music comparable to, music, and the mixing and scratching of vinyl.

Despite the limited electronic equipment available to dub pioneers such as King Tubby and Lee 'Scratch' Perry, their experiments in remix culture were musically cutting-edge. King Tubby, for example, was a sound system proprietor and electronics technician, whose small front-room studio in the Waterhouse ghetto of western was a key site of dub music creation.

Late 1960s to early 1980s [ ] Rise of popular electronic music [ ]. Performing in St. Petersburg in 2008 In the late 1960s, and, including and, began to use electronic instruments, like the and, to supplement and define their sound. By the end of the decade, the took a leading place in the sound of emerging with bands including, and making them part of their sound. Instrumental prog rock was particularly significant in continental Europe, allowing bands like, and to circumvent the language barrier. Their synthesiser-heavy ', along with the work of (for a time the keyboard player with ), would be a major influence on subsequent.

Was pioneered by King Tubby and other Jamaican sound artists, using DJ-inspired electronics, complete with drop-outs, echo, equalization and electronic effects. It featured layering techniques and incorporated elements of, deep and harmonic sounds.

Techniques such as a long echo delay were also used. Other notable artists within the genre include, and. Electronic rock was also produced by several Japanese musicians, including 's Electric Samurai: Switched on Rock (1972), which featured Moog synthesizer renditions of contemporary pop and rock songs, and 's progressive rock album Benzaiten (1974).

The mid-1970s saw the rise of electronic art music musicians such as, and, who with Brian Eno were a significant influence on the development of. Dub music influenced electronic musical techniques later adopted by, when Jamaican immigrant in the early 1970s introduced Jamaica's sound system culture and dub music techniques to America.

One such technique that became popular in culture was playing two copies of the same record on two turntables in alternation, extending the ' favorite section. The turntable eventually went on to become the most visible electronic musical instrument, and occasionally the most, in the 1980s and 1990s. After the arrival of, a form of basic electronic rock emerged, increasingly using new digital technology to replace other instruments. Pioneering bands included with their 1977 track 'Hiroshima Mon Amour' on, from Japan, and.

Yellow Magic Orchestra in particular helped pioneer with their (1978) and (1979). The definition of and the development of made the development of purely electronic sounds much easier. These developments led to the growth of synth-pop, which after it was adopted by the movement, allowed synthesizers to dominate the pop and rock music of the early 80s. Key acts included, and. Synth-pop sometimes used synthesizers to replace all other instruments, until the style began to fall from popularity in the mid-1980s. Keyboard synthesizers [ ]. Download Free Encyclopedia De Hierro Forjado Pdf Printer here.

See also:, and In 1975, the Japanese company licensed the algorithms for (FM synthesis) from, who had experimented with it at since 1971. Yamaha's engineers began adapting Chowning's algorithm for use in a digital synthesizer, adding improvements such as the 'key scaling' method to avoid the introduction of distortion that normally occurred in analog systems during. However, the first commercial digital synthesizer to be released would be the Australian company's (Computer Musical Instrument) in 1979, as the first practical polyphonic digital synthesizer/sampler system. In 1980, Yamaha eventually released the first FM digital synthesizer, the Yamaha GS-1, but at an expensive price. In 1983, Yamaha introduced the first stand-alone digital synthesizer, the, which also used FM synthesis and would become one of the best-selling synthesizers of all time. The DX7 was known for its recognizable bright tonalities that was partly due to an of 57 kHz.

Describes one of his experiences with early computer sounds. 1983) at IRCAM machine room in 1989 At IRCAM in Paris in 1982, flutist had connected his flute to DiGiugno's audio processor, enabling real-time pitch-following. On a at the time, I extended this concept to real-time score-following with automatic synchronized accompaniment, and over the next two years Larry and I gave numerous demonstrations of the computer as a chamber musician, playing flute sonatas, 's Sonatine for flute and piano and by 1984 my own Synapse II for flute and computer—the first piece ever composed expressly for such a setup. A major challenge was finding the right software constructs to support highly sensitive and responsive accompaniment.

All of this was pre-MIDI, but the results were impressive even though heavy doses of tempo rubato would continually surprise my Synthetic Performer. In 1985 we solved the tempo rubato problem by incorporating learning from rehearsals (each time you played this way the machine would get better). We were also now tracking violin, since our brilliant, young flautist had contracted a fatal cancer.

Moreover, this version used a new standard called MIDI, and here I was ably assisted by former student Miller Puckette, whose initial concepts for this task he later expanded into a program called. IRCAM, STEIM, and Elektronmusikstudion [ ]. IRCAM at the Place Igor Stravinsky, Paris in Paris became a major center for computer music research and realization and development of the computer system, featuring then revolutionary real-time digital signal processing. 's (1981) for 24 musicians and 6 soloists used the 4X to transform and route soloists to a loudspeaker system. Is a center for in the electronic performing arts, located in Amsterdam, Netherlands. STEIM has existed since 1969.

It was founded by, [], and. This group of Dutch composers had fought for the reformation of Amsterdam's feudal music structures; they insisted on Bruno Maderna's appointment as musical director of the Concertgebouw Orchestra and enforced the first public fundings for experimental and improvised electronic music in The Netherlands. (EMS), formerly known as Electroacoustic Music in Sweden, is the Swedish national centre for electronic music and. The research organisation started in 1964 and is based in Stockholm. Birth of MIDI [ ]. Main article: In 1980, a group of musicians and music merchants met to standardize an interface that new instruments could use to communicate control instructions with other instruments and computers. This standard was dubbed Musical Instrument Digital Interface () and resulted from a collaboration between leading manufacturers, initially, —and later, other participants that included, and.

A paper was authored by of Sequential Circuits and proposed to the in 1981. Then, in August 1983, the MIDI Specification 1.0 was finalized. MIDI technology allows a single keystroke, control wheel motion, pedal movement, or command from a microcomputer to activate every device in the studio remotely and in synchrony, with each device responding according to conditions predetermined by the composer. MIDI instruments and software made powerful control of sophisticated instruments easily affordable by many studios and individuals. Acoustic sounds became reintegrated into studios via and sampled-ROM-based instruments. Developed graphic signal-processing software for called (after ) and later ported it to (with Dave Zicarelli extending it for ) for real-time MIDI control, bringing algorithmic composition availability to most composers with modest computer programming background. Sequencers and drum machines [ ].

This article's factual accuracy is. Relevant discussion may be found on the. Please help to ensure that disputed statements are. (December 2011) () The early 1980s saw the rise of, the most influential being the, a bass synthesizer and released in late 1981 that later became a fixture in, particularly. One of the first to use it was in 1982, though it wouldn't be popularized until 's ' in 1987. Began being used around the mid 20th century, and Tomita's albums in mid-1970s being later examples. In 1978, Yellow Magic Orchestra were using -based technology in conjunction with a synthesiser to produce popular music, making their early use of the -based sequencer.

[ ], also known as rhythm machines, also began being used around the late-1950s, with a later example being 's progressive rock album Benzaiten (1974), which used a rhythm machine along with and a synthesizer. In 1977, 's ' was one of the first singles to use the -like of a drum machine. In 1980, released the, one of the first and most popular programmable.

The first band to use it was Yellow Magic Orchestra in 1980, and it would later gain widespread popularity with the release of 's ' and 's ' in 1982. The TR-808 was a fundamental tool in the later Detroit techno scene of the late 1980s, and was the drum machine of choice for and.

Chiptunes [ ]. See also: The trend has continued to the present day with modern nightclubs worldwide regularly playing electronic dance music (EDM). Today, electronic dance music has radio stations, websites, and publications like dedicated solely to the genre.

Moreover, the genre has found commercial and cultural significance in the United States and North America, thanks to the wildly popular /EDM sound that has been incorporated into U.S. And the rise of large-scale commercial such as, and. Advancements [ ] Other recent developments included the (MIT and IRCAM) composition Begin Again Again for ', an interactive system of sensors measuring physical movements of the cellist.

Max Mathews developed the 'Conductor' program for real-time tempo, dynamic and timbre control of a pre-input electronic score. Released a multimedia CD-ROM All My Hummingbirds Have Alibis. 2000s and 2010s [ ] As computer technology has become more accessible and has advanced, interacting with music production technology is now possible using means that bear no relationship to traditional practices: for instance, performance ( ), and. In general, the term refers to any live performance of electronic music, whether with laptops, synthesizers, or other devices. In the last decade, a number of software-based virtual studio environments have emerged, with products such as Propellerhead's and finding popular appeal. Such tools provide viable and cost-effective alternatives to typical hardware-based production studios, and thanks to advances in technology, it is now possible to create high quality music using little more than a single laptop computer. Such advances have democratized music creation, leading to a massive increase in the amount of home-produced electronic music available to the general public via the internet. Ryder Quantum Field Pdf Files there.

Artists can now also individuate their production practice by creating personalized software synthesizers, effects modules, and various composition environments. Devices that once existed exclusively in the hardware domain can easily have virtual counterparts. Some of the more popular software tools for achieving such ends are commercial releases such as and and packages such as, and. Circuit bending [ ].

See also: is the creative customization of the circuits within electronic devices such as low, battery-powered, children's and small digital to create new musical or visual instruments and sound generators. Emphasizing spontaneity and randomness, the techniques of circuit bending have been commonly associated with, though many more conventional contemporary musicians and musical groups have been known to experiment with 'bent' instruments. Circuit bending usually involves dismantling the machine and adding components such as switches and that alter the circuit. With the revived interest for analogue synthesizers, circuit bending became a cheap solution for many experimental musicians to create their own individual analogue sound generators. Nowadays many schematics can be found to build noise generators such as the or the Dub Siren as well as simple modifications for children toys such as the famous that are often modified by circuit benders. Reed Ghazala has explored circuit bending with the Speak & Spell toy, and has held apprenticeships and workshops on circuit bending.

[ ] Modular Synth Revival [ ] Folowing the circuit bending culture, musicians also began to build their own modular synthesizers, causing a renewed interest for the ealry 60s designs. Became a popular system. See also [ ]. • 'The stuff of electronic music is electrically produced or modified sounds. Two basic definitions will help put some of the historical discussion in its place: purely electronic music versus ' (, p. 6).

• Electroacoustic music uses electronic to change sounds from the natural world, such as the sound of waves on a beach or bird calls. All types of sounds can be used as source material for this music.

Electroacoustic performers and composers use microphones, tape recorders and digital samplers to make live or recorded music. During live performances, natural sounds are modified in real time using electronic effects and. The source of the sound can be anything from ambient noise (traffic, people talking) and nature sounds to live musicians playing conventional acoustic or electro-acoustic instruments (, p. 8). • 'Electronically produced music is part of the mainstream of popular culture.

Musical concepts that were once considered radical—the use of environmental sounds, ambient music, turntable music, digital sampling, computer music, the electronic modification of acoustic sounds, and music made from fragments of speech-have now been subsumed by many kinds of popular music. Record store genres including new age, rap, hip-hop, electronica, techno, jazz, and popular song all rely heavily on production values and techniques that originated with classic electronic music' (, p. 1). 'By the 1990s, electronic music had penetrated every corner of musical life. It extended from ethereal sound-waves played by esoteric experimenters to the thumping syncopation that accompanies every pop record' (, p. 106). • Neill, Ben. Leonardo Music Journal.

•, p. 41 • Swezey, Kenneth M. The Encyclopedia Americana – International Edition Vol. Danbury, Connecticut: Grolier Incorporated. •, p. 82 •, p. 47 •, p. 95. •, pp. 35–36.

• 'To present the musical soul of the masses, of the great factories, of the railways, of the transatlantic liners, of the battleships, of the automobiles and airplanes. To add to the great central themes of the musical poem the domain of the machine and the victorious kingdom of Electricity.'

Quoted in, p. 40. •, p. 18 • ^, p. 21 •, p. 33 • Lee De Forest (1950), Father of radio: the autobiography of Lee de Forest, Wilcox & Follett, pp.

•, p. 204 •, p. 24 •, p. 26 •, p. 28 •, p. 'Free lines' •, p. 'Russian Electroacoustic Music from the 1930s-2000s' •, p. 34 •, p. 45 •, p. 46 •. •, pp. 4 and 7 •.

• ^, p. 24 •, pp. 156–57. • 'Musique Concrete was created in Paris in 1948 from edited collages of everyday noise' (, p. 107). • NB: To the pioneers, an electronic work did not exist until it was 'realized' in a real-time performance (, p. 122). •, p. 2;, p. 117. At Northwest German Radio in Cologne (1953), where the term 'electronic music' was coined to distinguish their pure experiments from musique concrete.'

(Lebrecht 1996, 107). •, pp. 73–76, 78–79 • 'In 1967, just following the world premiere of, Stockhausen said about the electronic music experience: '.

Many listeners have projected that strange new music which they experienced—especially in the realm of electronic music—into extraterrestrial space. Even though they are not familiar with it through human experience, they identify it with the fantastic dream world. Several have commented that my electronic music sounds 'like on a different star', or 'like in outer space.' Many have said that when hearing this music, they have sensations as if flying at an infinitely high speed, and then again, as if immobile in an immense space. Thus, extreme words are employed to describe such experience, which are not 'objectively' communicable in the sense of an object description, but rather which exist in the subjective fantasy and which are projected into the extraterrestrial space' (, p. 145). • ^ Before the Second World War in Japan, several 'electrical' instruments seem already to have been developed ( see ), and in 1935 a kind of ' electronic' musical instrument, the, was developed. It seems to be a multi-timbral keyboard instrument based on electrically blown with, possibly similar to the developed by Frederick Albert Hoschke in 1934 then manufactured by and until 1961.