Electroacoustic Music - Electronic Music

Electronic Music

See also: Electronic music

In Cologne, elektronische Musik, pioneered in 1949–51 by the composer Herbert Eimert and the physicist Werner Meyer-Eppler, was based solely on electronically generated (synthetic) sounds, particularly sine waves (Eimert 1957, 2; Morawska-Büngeler 1988, 11–13; Ungeheuer 1992, 13). The beginning of the development of electronic music has been traced back to "the invention of the valve in 1906" (Eimert 1957, 2). The precise control afforded by the studio allowed for what Eimert considered to be the subjection of everything, "to the last element of the single note", to serial permutation, "resulting in a completely new way of composing sound" (Eimert 1957, 8); in the studio, serial operations could be applied to elements such as timbre and dynamics. The common link between the two schools is that the music is recorded and performed through loudspeakers, without a human performer. The majority of electroacoustic pieces use a combination of recorded sound and synthesized or processed sounds, and the schism between Schaeffer's and Eimert's approaches has been overcome, the first major example being Karlheinz Stockhausen's Gesang der Jünglinge of 1955–56 (Morawska-Büngeler 1988, 17; Stockhausen 1996, 93–94).

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