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83-490: Ghost Box is an independent, UK-based electronic music record label, launched in 2004 by graphic designer Julian House and producer Jim Jupp . Its roster includes artists such as Jupp's Belbury Poly , House's The Focus Group , and the Advisory Circle , as well as releases by Broadcast and John Foxx among others. The label's distinctive aesthetic draws on outdated and esoteric British cultural sources from

166-405: A PA system , several turntables, and mixers. The performance did not go well, as creating live montages with turntables had never been done before." Later that same year, Pierre Henry collaborated with Schaeffer on Symphonie pour un homme seul (1950) the first major work of musique concrete. In Paris in 1951, in what was to become an important worldwide trend, RTF established the first studio for

249-466: A slide show synchronized with a recorded soundtrack. Composers outside of the Jikken Kōbō, such as Yasushi Akutagawa , Saburo Tominaga, and Shirō Fukai , were also experimenting with radiophonic tape music between 1952 and 1953. Musique concrète was introduced to Japan by Toshiro Mayuzumi , who was influenced by a Pierre Schaeffer concert. From 1952, he composed tape music pieces for a comedy film,

332-416: A case study, they use the example of Ba Chúc 's secondary haunting, in which the state-controlled museums display the skulls of the dead and memorabilia, as opposed to traditional Vietnamese burial customs. This is contrasted with the "primary haunting" of Ba Chúc , the paranormal activity said to occur at an execution site marked by a tree. Kit Bauserman notes that for literary and critical theorists ,

415-465: A common household item, and by the 1920s composers were using them to play short recordings in performances. The introduction of electrical recording in 1925 was followed by increased experimentation with record players. Paul Hindemith and Ernst Toch composed several pieces in 1930 by layering recordings of instruments and vocals at adjusted speeds. Influenced by these techniques, John Cage composed Imaginary Landscape No. 1 in 1939 by adjusting

498-422: A critical lens in various forms of media and theory , including music, aesthetics, political theory , architecture, Africanfuturism , Afrofuturism , Neo-futurism , Metamodernism , anthropology , and psychoanalysis . Due to the difficulty in understanding the concept, there is little consistency in how other writers define the term. Hauntings and ghost stories have existed for millennia, and reached

581-827: A different league, even another dimension, than other modern musicians." Electronic music Electronic music broadly is a group of music genres that employ electronic musical instruments , circuitry-based music technology and software, or general-purpose electronics (such as personal computers ) 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

664-664: A future that never came to pass, with a vision of a strange, alternate Britain, constituted from the reorder refuse of the postwar period ." Ghost Box’s key artists are House's own The Focus Group and Jupp’s Belbury Poly as well as The Advisory Circle , the recording name for the work of producer and longest serving Ghost Box collaborator Cate Brooks. Jupp and Brooks have collaborated together as The Belbury Circle. Ghost Box have also released albums by Pye Corner Audio , Mount Vernon Arts Lab , Hintermass (formed by Brooks with former Broadcast and Seeland member Tim Felton), The Soundcarriers and Roj (also formerly of Broadcast), as well as

747-798: A heyday in the West during the 19th century . In cultural studies , Terry Castle (in The Apparitional Lesbian ) and Anthony Vidler (in The Architectural Uncanny ) predate Derrida. "Hauntology" originates from Derrida's discussion of Karl Marx in Spectres of Marx , specifically Marx's proclamation that "a spectre is haunting Europe—the spectre of communism" in The Communist Manifesto . Derrida calls on Shakespeare's Hamlet , particularly

830-998: A number of musicians, ranging from Neil Rolnick , Charles Amirkhanian and Alice Shields to rock musicians Frank Zappa and The West Coast Pop Art Experimental Band . Following the emergence of differences within the GRMC (Groupe de Recherche de Musique Concrète) Pierre Henry, Philippe Arthuys, and several of their colleagues, resigned in April 1958. Schaeffer created a new collective, called Groupe de Recherches Musicales (GRM) and set about recruiting new members including Luc Ferrari , Beatriz Ferreyra , François-Bernard Mâche , Iannis Xenakis , Bernard Parmegiani , and Mireille Chamass-Kyrou . Later arrivals included Ivo Malec , Philippe Carson, Romuald Vandelle, Edgardo Canton and François Bayle . These were fertile years for electronic music—not just for academia, but for independent artists as synthesizer technology became more accessible. By this time,

913-503: A phrase spoken by the titular character: "the time is out of joint". The word functions as a deliberate near- homophone to " ontology " in Derrida's native French (cf. "hantologie" , [ɑ̃tɔlɔʒi] and "ontologie" , [ɔ̃tɔlɔʒi] ). Derrida's prior work on deconstruction , on concepts of trace and différance in particular, serves as the foundation of his formulation of hauntology, fundamentally asserting that there

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996-697: A public concert in New York together with other compositions I had written for conventional instruments." Otto Luening, who had attended this concert, remarked: "The equipment at his disposal consisted of an Ampex tape recorder . . . and a simple box-like device designed by the brilliant young engineer, Peter Mauzey, to create feedback, a form of mechanical reverberation. Other equipment was borrowed or purchased with personal funds." Just three months later, in August 1952, Ussachevsky traveled to Bennington, Vermont, at Luening's invitation to present his experiments. There,

1079-465: A radio broadcast, and a radio drama. However, Schaeffer's concept of sound object was not influential among Japanese composers, who were mainly interested in overcoming the restrictions of human performance. This led to several Japanese electroacoustic musicians making use of serialism and twelve-tone techniques , evident in Yoshirō Irino 's 1951 dodecaphonic piece "Concerto da Camera", in

1162-810: A score. In 1955, more experimental and electronic studios began to appear. Notable were the creation of the Studio di fonologia musicale di Radio Milano , a studio at the NHK in Tokyo founded by Toshiro Mayuzumi , and the Philips studio at Eindhoven , the Netherlands, which moved to the University of Utrecht as the Institute of Sonology in 1960. "With Stockhausen and Mauricio Kagel in residence, [Cologne] became

1245-460: 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 early 1980s mass-produced digital synthesizers , such as the Yamaha DX7 , became popular, and MIDI (Musical Instrument Digital Interface)

1328-567: A strong community of composers and musicians working with new sounds and instruments was established and growing. 1960 witnessed the composition of Luening's Gargoyles for violin and tape as well as the premiere of Stockhausen's Kontakte 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

1411-501: A swarm of esoteric pop-cultural references to create a parallel reality built upon memories of a very British past." In reviewing Broadcast and The Focus Group Investigate Witch Cults of the Radio Age , PopMatters called Ghost Box "[o]ne of the most rousing (oc)cult phenomena of the past decade" having "created a career conjuring past futurisms and collectively buried fears to create music that quite literally feels like it’s in

1494-454: A year-round hive of charismatic avant-gardism." on two occasions combining electronically generated sounds with relatively conventional orchestras—in Mixtur (1964) and Hymnen, dritte Region mit Orchester (1967). Stockhausen stated that his listeners had told him his electronic music gave them an experience of "outer space", sensations of flying, or being in a "fantastic dream world". In

1577-483: Is alone, a world of mystery and essential loneliness." 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 1953, though it had been in the planning stages as early as 1950 and early compositions were made and broadcast in 1951. The brainchild of Werner Meyer-Eppler , Robert Beyer, and Herbert Eimert (who became its first director),

1660-468: Is most recognizable in its 4/4 form and more connected with the mainstream than preceding forms which were popular in niche markets. At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments . 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

1743-584: Is no temporal point of pure origin but only an " always-already absent present". Derrida sees hauntology as not only more powerful than ontology, but that "it would harbor within itself eschatology and teleology themselves". His writing in Spectres is marked by a preoccupation with the "death" of communism after the 1991 fall of the Soviet Union , in particular after theorists such as Francis Fukuyama asserted that capitalism had conclusively triumphed over other political-economic systems and reached

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1826-718: Is to be realized as a magnetic tape. According to Otto Luening, Cage also performed Williams Mix at Donaueschingen in 1954, using eight loudspeakers, three years after his alleged collaboration. Williams Mix was a success at the Donaueschingen Festival , where it made a "strong impression". The Music for Magnetic Tape Project was formed by members of the New York School ( John Cage , Earle Brown , Christian Wolff , David Tudor , and Morton Feldman ), and lasted three years until 1954. Cage wrote of this collaboration: "In this social darkness, therefore,

1909-406: The "end of history" . Despite being the central focus of Spectres of Marx , the word hauntology appears only three times in the book. Peter Buse and Andrew Scott, discussing Derrida's notion of hauntology, explain: Ghosts arrive from the past and appear in the present. However, the ghost cannot be properly said to belong to the past .... Does then the 'historical' person who is identified with

1992-768: The Columbia-Princeton Electronic Music Center in the late 1950s. Following his work with Studio d'Essai at Radiodiffusion Française (RDF), during the early 1940s, Pierre Schaeffer is credited with originating the theory and practice of musique concrète. In the late 1940s, experiments in sound-based composition using shellac record players were first conducted by Schaeffer. In 1950, 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 . On 5 October 1948, RDF broadcast Schaeffer's Etude aux chemins de fer . This

2075-507: The Ensemble of electro-musical instruments  [ ru ] , which used theremins, electric harps, electric organs, the first synthesizer in the USSR "Ekvodin", and also created the first Soviet reverb machine. The style in which Meshcherin's ensemble played is known as " Space age pop ". In 1957, engineer Igor Simonov assembled a working model of a noise recorder (electroeoliphone), with

2158-625: The Study Series (nos. 1-10) and more recently the ongoing Other Voices series. Guests have included include Broadcast, John Foxx , Paul Weller , Moon Wiring Club , Cavern of Anti-Matter, Sean O'Hagan , Steve Moore and The Listening Center. Music journalists Simon Reynolds and Mark Fisher borrowed Jacques Derrida 's philosophical term hauntology to describe Ghost Box's uniquely surreal visual and musical output. Boing Boing 's Mark Pilkington noted Ghost Box founders "fused pop concrète, soundtrack and library music with sharp design and

2241-498: The postwar period , including early electronic and library music , public information films , educational resources, occult stories, and BBC science-fiction programs. Ghost Box consequently became associated with the 2000s music trend known as hauntology . Ghost Box was established in London in 2004 by producer Jim Jupp and music industry graphic designer Julian House . The label was formally launched on January 10, 2005, and

2324-432: The telharmonium , Hammond organ , electric piano and electric guitar . The first electronic musical devices were developed at the end of the 19th century. During the 1920s and 1930s, some electronic instruments were introduced and the first compositions featuring them were written. By the 1940s, magnetic audio tape allowed musicians to tape sounds and then modify them by changing the tape speed or direction, leading to

2407-638: The 'cinematic splice' techniques in early twentieth-century film." The theremin had been in use since the 1920s but it attained a degree of popular recognition through its use in science-fiction film soundtrack music in the 1950s (e.g., Bernard Herrmann 's classic score for The Day the Earth Stood Still ). Hauntology While Christine Brooke-Rose had previously punned "dehauntological" (on "deontological") in Amalgamemnon (1984), Derrida initially used "hauntology" for his idea of

2490-577: The 'originary' moment (11). In the 2000s, the term was taken up by critics in reference to paradoxes found in postmodernity , particularly contemporary culture's persistent recycling of retro aesthetics and incapacity to escape old social forms. Writers such as Mark Fisher and Simon Reynolds used the term to describe a musical aesthetic preoccupied with this temporal disjunction and the nostalgia for "lost futures". So-called "hauntological" musicians are described as exploring ideas related to temporal disjunction, retrofuturism , cultural memory , and

2573-445: The 1950s and algorithmic composition with computers was first demonstrated in the same decade. During the 1960s, 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 1970s, Moog synthesizers and drum machines helped popularize synthesized electronic music. The 1970s also saw electronic music begin to have

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2656-681: The Louisville Symphony and A Poem in Cycles and Bells , both for orchestra and tape. Because he had been working at Schaeffer's studio, the tape part for Varèse's work contains much more concrete sounds than electronic. "A group made up of wind instruments, percussion and piano alternate with the mutated sounds of factory noises and ship sirens and motors, coming from two loudspeakers." At the German premiere of Déserts in Hamburg, which

2739-475: The Philips studio in the Netherlands. The public remained interested in the new sounds being created around the world, as can be deduced by the inclusion of Varèse's Poème électronique , which was played over four hundred loudspeakers at the Philips Pavilion of the 1958 Brussels World Fair . That same year, Mauricio Kagel , an Argentine composer, composed Transición II . The work was realized at

2822-450: The Poet , a 1959 series of electronic compositions that stood out for its immersion and seamless fusion of electronic and folk music , in contrast to the more mathematical approach used by serial composers of the time such as Babbitt. El-Dabh's Leiyla and the Poet , released as part of the album Columbia-Princeton Electronic Music Center in 1961, would be cited as a strong influence by

2905-608: The United States following the end of World War II. These were the basis for the first commercially produced tape recorder in 1948. In 1944, 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

2988-454: The United States, electronic music was being created as early as 1939, when John Cage published Imaginary Landscape, No. 1 , using two variable-speed turntables, frequency recordings, muted piano, and cymbal, but no electronic means of production. Cage composed five more "Imaginary Landscapes" between 1942 and 1952 (one withdrawn), mostly for percussion ensemble, though No. 4 is for twelve radios and No. 5, written in 1952, uses 42 recordings and

3071-597: 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. In 1958, Columbia-Princeton developed the RCA Mark II Sound Synthesizer ,

3154-748: The ancestor of the ORTF . Karlheinz Stockhausen worked briefly in Schaeffer's studio in 1952, and afterward for many years at the WDR Cologne's Studio for Electronic Music . 1954 saw the advent of what would now be considered authentic electric plus acoustic compositions—acoustic instrumentation augmented/accompanied by recordings of manipulated or electronically generated sound. Three major works were premiered that year: Varèse's Déserts , for chamber ensemble and tape sounds, and two works by Otto Luening and Vladimir Ussachevsky : Rhapsodic Variations for

3237-494: The atemporal nature of Marxism and its tendency to "haunt Western society from beyond the grave". It describes a situation of temporal and ontological disjunction in which presence , especially socially and culturally, is replaced by a deferred non-origin. The concept is derived from deconstruction , in which any attempt to locate the origin of identity or history must inevitably find itself dependent on an always-already existing set of linguistic conditions. Despite being

3320-641: The borrowed equipment in the back of Ussachevsky's car, we left Bennington for Woodstock and stayed two weeks. . . . In late September 1952, the travelling laboratory reached Ussachevsky's living room in New York, where we eventually completed the compositions." Two months later, on 28 October, Vladimir Ussachevsky and Otto Luening presented the first Tape Music concert in the United States. The concert included Luening's Fantasy in Space (1952)—"an impressionistic virtuoso piece" using manipulated recordings of flute—and Low Speed (1952), an "exotic composition that took

3403-432: The central focus of Spectres of Marx , the word hauntology appears only three times in the book, and there is little consistency in how other writers define the term. In the 2000s, the term was applied to musicians by theorists Simon Reynolds and Mark Fisher , who were said to explore ideas related to temporal disjunction, retrofuturism , cultural memory , and the persistence of the past. Hauntology has been used as

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3486-511: The comeback album by Plone , who are acknowledged by the label as progenitors of the Ghost Box style. Ghost Box has recently began to expand their roster to showcase artists from other countries, such as ToiToiToi from Berlin , Germany and Beautify Junkyards from Lisbon , Portugal . There have also been releases by guest artists sometimes in collaborating with members of the regular roster over an ongoing series of Ghost Box singles. First

3569-412: 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 (1907). Futurists such as Francesco Balilla Pratella and Luigi Russolo began composing music with acoustic noise to evoke the sound of machinery . They predicted expansions in timbre allowed for by electronics in

3652-617: The development of electroacoustic tape music in the 1940s, in Egypt and France. Musique concrète , 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 by Karlheinz Stockhausen . Electronic music was also created in Japan and the United States beginning in

3735-597: The development of music technology several decades later. Following the foundation of electronics company Sony in 1946, composers Toru Takemitsu and Minao Shibata independently explored possible uses for electronic technology to produce music. Takemitsu had ideas similar to musique concrète , which he was unaware of, while Shibata foresaw the development of synthesizers and predicted a drastic change in music. Sony began producing popular magnetic tape recorders for government and public use. The avant-garde collective Jikken Kōbō (Experimental Workshop), founded in 1950,

3818-402: The direction of electronic music. Another associate of Schaeffer, Edgard Varèse , began work on Déserts , a work for chamber orchestra and tape. The tape parts were created at Pierre Schaeffer's studio and were later revised at Columbia University . In 1950, Schaeffer gave the first public (non-broadcast) concert of musique concrète at the École Normale de Musique de Paris . "Schaeffer used

3901-740: The end of the 1960s, musical groups playing light electronic music appeared in the USSR. At the state level, this music began to be used to attract foreign tourists to the country and for broadcasting to foreign countries. In the mid-1970s, composer Alexander Zatsepin designed an "orchestrolla" – a modification of the mellotron. The Baltic Soviet Republics also had their own pioneers: in Estonian SSR — Sven Grunberg , in Lithuanian SSR — Gedrus Kupriavicius, in Latvian SSR — Opus and Zodiac . The world's first computer to play music

3984-438: 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." Later developments included the work of Max Mathews at Bell Laboratories , who developed the influential MUSIC I program in 1957, one of the first computer programs to play electronic music. Vocoder technology

4067-546: The first programmable synthesizer. Prominent composers such as Vladimir Ussachevsky, Otto Luening, Milton Babbitt , Charles Wuorinen , Halim El-Dabh, Bülent Arel and Mario Davidovsky 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 Halim El-Dabh who, after having developed the earliest known electronic tape music in 1944, became more famous for Leiyla and

4150-528: The flute far below its natural range." Both pieces were created at the home of Henry Cowell in Woodstock, New York. 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

4233-637: The future)." 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., under the direction of Leopold Stokowski at the Museum of Modern Art in New York. After some hesitation, we agreed. . . . Henry Cowell placed his home and studio in Woodstock, New York, at our disposal. With

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4316-447: The ghost properly belong to the present? Surely not, as the idea of a return from death fractures all traditional conceptions of temporality. The temporality to which the ghost is subject is therefore paradoxical , at once they 'return' and make their apparitional debut [...] any attempt to isolate the origin of language will find its inaugural moment already dependent upon a system of linguistic differences that have been installed prior to

4399-592: The help of which it was possible to extract various timbres and consonances of a noise nature. In 1958, Evgeny Murzin designed ANS synthesizer , one of the world's first polyphonic musical synthesizers. Founded by Murzin in 1966, the Moscow Experimental Electronic Music Studio became the base for a new generation of experimenters – Eduard Artemyev , Alexander Nemtin  [ ru ] , Sándor Kallós , Sofia Gubaidulina , Alfred Schnittke , and Vladimir Martynov . By

4482-547: The influential manifesto The Art of Noises (1913). Developments of the vacuum tube led to electronic instruments that were smaller, amplified , and more practical for performance. In particular, the theremin , ondes Martenot and trautonium were commercially produced by the early 1930s. From the late 1920s, the increased practicality of electronic instruments influenced composers such as Joseph Schillinger and Maria Schuppel to adopt them. They were typically used within orchestras, and most composers wrote parts for

4565-473: The instruments. While some were considered novelties and produced simple tones, the Telharmonium synthesized the sound of several orchestral instruments with reasonable precision. 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

4648-534: The interplay between space, place, objects, and temporality ". Jeff Ferrell and Theo Kidynis, building on Armstrong, have developed further ideas of "ghost ethnography". Anthropologists Martha and Bruce Lincoln make a distinction between primary hauntings, in which the haunted recognize the reality and autonomy of metaphysical entities in relatively uncritical, literal manner; and secondary hauntings, which identify "textual residues" history, or as tropes for "collective intrapsychic states" such as trauma and grief. As

4731-501: The label as existing in an imagined or misremembered past. Influenced by school textbooks and the rigid design grid of Penguin and Pelican paperback books , Ghost Box records and CDs were always intended to look and sound like artefacts from a parallel world, familiar, elegant, but somehow "wrong". It’s a world outside of time where cultural references from a roughly 20-year period (1958-1978) are happening all at once. Their work has been described as an attempt to evoke "a nostalgia for

4814-813: The organization of electronic sounds in Mayuzumi's "X, Y, Z for Musique Concrète", and later in Shibata's electronic music by 1956. Modelling the NWDR studio in Cologne, established an NHK electronic music studio in Tokyo in 1954, which became one of the world's leading electronic music facilities. The NHK electronic music 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 . Musicians associated with

4897-543: The persistence of the past. Anthropology has seen a widespread usage of hauntology as a methodology across ethnography , archaeology , and psychological anthropology . In 2019 Ethos , the journal of the Society for Psychological Anthropology dedicated a full issue to hauntology, titled Hauntology in Psychological Anthropology , and numerous books and journal articles have since appeared on

4980-553: The popular Dr. Jekyll and Mr. Hyde in the United States. Experiments with graphical sound were continued by Norman McLaren from the late 1930s. The first practical audio tape recorder was unveiled in 1935. Improvements to the technology were made using the AC biasing technique, which significantly improved recording fidelity. As early as 1942, test recordings were being made in stereo. Although these developments were initially confined to Germany, recorders and tapes were brought to

5063-482: The principle of the theremin . In the 1930s, Nikolai Ananyev invented "sonar", and engineer Alexander Gurov — neoviolena, I. Ilsarov — ilston., A. Rimsky-Korsakov  [ ru ] and A. Ivanov — emiriton  [ ru ] . Composer and inventor Arseny Avraamov was engaged in scientific work on sound synthesis and conducted a number of experiments that would later form the basis of Soviet electro-musical instruments. In 1956 Vyacheslav Mescherin created

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5146-413: The production of electronic music. Also in 1951, Schaeffer and Henry produced an opera, Orpheus , for concrete sounds and voices. By 1951 the work of Schaeffer, composer-percussionist Pierre Henry, and sound engineer Jacques Poullin had received official recognition and The Groupe de Recherches de Musique Concrète , Club d 'Essai de la Radiodiffusion-Télévision Française was established at RTF in Paris,

5229-497: The recorded material using reverberation, echo, voltage controls and re-recording. What resulted is believed to be the earliest tape music composition. The resulting work was entitled The Expression of Zaar and it was presented in 1944 at an art gallery event in Cairo. 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

5312-482: The speeds of recorded tones. Composers began to experiment with newly developed sound-on-film technology. Recordings could be spliced together to create sound collages , such as those by Tristan Tzara , Kurt Schwitters , Filippo Tommaso Marinetti , Walter Ruttmann and Dziga Vertov . 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

5395-666: The studio included Toshiro Mayuzumi, Minao Shibata, Joji Yuasa, Toshi Ichiyanagi , and Toru Takemitsu. The studio's first electronic compositions were completed in 1955, including Mayuzumi's five-minute pieces "Studie I: Music for Sine Wave by Proportion of Prime Number", "Music for Modulated Wave by Proportion of Prime Number" and "Invention for Square Wave and Sawtooth Wave" produced using the studio's various tone-generating capabilities, and Shibata's 20-minute stereo piece "Musique Concrète for Stereophonic Broadcast". The impact of computers continued in 1956. Lejaren Hiller and Leonard Isaacson composed Illiac Suite for string quartet ,

5478-546: The studio of Bebe and Louis Barron . 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." Ussachevsky said later: "I suddenly realized that

5561-571: The studio was soon joined by Karlheinz Stockhausen and Gottfried Michael Koenig . In his 1949 thesis Elektronische Klangerzeugung: Elektronische Musik und Synthetische Sprache , Meyer-Eppler conceived the idea to synthesize music entirely from electronically produced signals; in this way, elektronische Musik was sharply differentiated from French musique concrète , which used sounds recorded from acoustical sources. In 1953, Stockhausen composed his Studie I , followed in 1954 by Elektronische Studie II —the first electronic piece to be published as

5644-496: The tape recorder could be treated as an instrument of sound transformation." On Thursday, 8 May 1952, Ussachevsky presented several demonstrations of tape music/effects that he created at his Composers Forum, in the McMillin Theatre at Columbia University. These included Transposition, Reverberation, Experiment, Composition , and Underwater Valse . In an interview, he stated: "I presented a few examples of my discovery in

5727-399: The tape recorder. Ussachevsky then and there put them through electronic transformations." The score for Forbidden Planet , by Louis and Bebe Barron , was entirely composed using custom-built electronic circuits and tape recorders in 1956 (but no synthesizers in the modern sense of the word). In 1929, Nikolai Obukhov invented the " sounding cross " (la croix sonore ), comparable to

5810-412: The theremin that could otherwise be performed with string instruments . Avant-garde composers 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 Charles Ives , Dimitrios Levidis , Olivier Messiaen and Edgard Varèse . Further, Percy Grainger used

5893-403: The theremin to abandon fixed tonation entirely, while Russian composers such as Gavriil Popov treated it as a source of noise in otherwise-acoustic noise music . 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 . Record players became

5976-491: The topic. In a book titled The Hauntology of Everyday Life , psychological anthropologist Sadeq Rahimi asserts, "the very experience of everyday life is built around a process that we can call hauntogenic, and whose major by-product is a steady stream of ghosts." Justin Armstrong, building on Derrida, proposes a "spectral ethnography " that "sees beyond the boundaries of actually spoken language and direct human contact to

6059-400: 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." They played some early pieces informally at a party, where "a number of composers almost solemnly congratulated us saying, 'This is it' ('it' meaning the music of

6142-465: 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." Cage completed Williams Mix in 1953 while working with the Music for Magnetic Tape Project. The group had no permanent facility, and had to rely on borrowed time in commercial sound studios, including

6225-556: Was CSIRAC , which was designed and built by Trevor Pearcey and Maston Beard. Mathematician Geoff Hill programmed the CSIRAC to play popular musical melodies from the very early 1950s. In 1951 it publicly played the Colonel Bogey March , of which no known recordings exist, only the accurate reconstruction. However, CSIRAC played standard repertoire and was not used to extend musical thinking or composition practice. CSIRAC

6308-579: Was also a major development in this early era. In 1956, Stockhausen composed Gesang der Jünglinge , the first major work of the Cologne studio, based on a text from the Book of Daniel . An important technological development of that year was the invention of the Clavivox synthesizer by Raymond Scott with subassembly by Robert Moog . In 1957, Kid Baltan ( Dick Raaymakers ) and Tom Dissevelt released their debut album, Song Of The Second Moon , recorded at

6391-415: Was built in 1935. however, after World War II, Japanese composers such as Minao Shibata knew of the development of electronic musical instruments. By the late 1940s, 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

6474-419: Was conducted by Bruno Maderna , the tape controls were operated by Karlheinz Stockhausen . The title Déserts suggested to Varèse not only "all physical deserts (of sand, sea, snow, of outer space, of empty streets), but also the deserts in the mind of man; not only those stripped aspects of nature that suggest bareness, aloofness, timelessness, but also that remote inner space no telescope can reach, where man

6557-732: Was developed. 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 1990s, with the proliferation of increasingly affordable music technology, electronic music production became an established part of popular culture. In Berlin starting in 1989, the Love Parade became the largest street party with over 1 million visitors, inspiring other such popular celebrations of electronic music. Contemporary electronic music includes many varieties and ranges from experimental art music to popular forms such as electronic dance music . Pop electronic music

6640-540: Was never recorded, but the music played was accurately reconstructed. 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 1951. The music program was written by Christopher Strachey . The earliest group of electronic musical instruments in Japan, Yamaha Magna Organ

6723-482: Was offered access to emerging audio technology by Sony. The company hired Toru Takemitsu to demonstrate their tape recorders with compositions and performances of electronic tape music. The first electronic tape pieces by the group were "Toraware no Onna" ("Imprisoned Woman") and "Piece B", composed in 1951 by Kuniharu Akiyama. Many of the electroacoustic tape pieces they produced were used as incidental music for radio, film, and theatre. They also held concerts employing

6806-477: Was originally created as an outlet for their own musical experiments, with the idea that each release’s packaging would display a similar design sensibility and allude to a shared imaginary landscape; a very British parallel world of public information films and TV soundtracks, cosmic horror stories, vintage library music and antique synthesisers , folk song, educational programmes, English psychedelia , occult stories and folklore. Jupp and House have described

6889-416: Was the first " movement " of Cinq études de bruits , and marked the beginning of studio realizations and musique concrète (or acousmatic art). 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

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