Electronic Music

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 Japanese drum machines helped popularize synthesized electronic music. The 1970s also saw electronic music begin to have 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 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.

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The first polyphonic digital sampling synthesizer was the Australian-produced Fairlight CMI, first available in 1979. In 1974, the WDR studio in Cologne acquired an EMS Synthi 100 synthesizer, which many composers used to produce notable electronic works—including Rolf Gehlhaar's Fünf deutsche Tänze , Karlheinz Stockhausen's Sirius (1975–76), and John McGuire's Pulse Music III . IRCAM in Paris became a major center for computer music research and realization and development of the Sogitec 4X computer system, featuring then revolutionary real-time digital signal processing.

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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 DX7, 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 overachieving sampling rate of 57 kHz. Some synth-pop bands created futuristic visual styles of themselves to reinforce the idea of electronic sounds were linked primarily with technology, as Americans Devo and Spaniards Aviador Dro.

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. Critics of musical conventions at the time saw promise in these developments.

Xenakis used computers to compose pieces like ST/4 for string quartet and ST/48 for orchestra , Morsima-Amorsima, ST/10, and Atrées. He developed the computer system UPIC for translating graphical images into musical results and composed Mycènes Alpha with it. The avant-garde collective Jikken Kōbō , founded in 1950, 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.