|
|
|
|
|
|
|
|
|
|
|
|
 |
|||||||
| Electronic Music History |
 |
> Electronic Music History |  |
|||||||
| ELECTRONIC MUSIC | |
||||||||
| > Late 19th cent. early 20th cent. > 1940s to 1950s > 1960s to late 1970s > Late 1970s to late 1980s > 1980s to early 2000s |
 |
||||||||
|
|||||||||
| (...) As technology developed, and synthesizers became cheaper, more robust and portable, they were adopted by many rock bands. Examples of relatively early adopters in this field are bands like The United States of America, The Silver Apples and Pink Floyd, and although not all of their music was primarily electronic (with the notable exception of The Silver Apples), much of the resulting sound was dependent upon the synthesised element. In the 1970s, this style was mainly popularised by Kraftwerk, who used electronics and robotics to symbolise and sometime gleefully celebrate the alienation of the modern technological world; to this day their music remains uncompromisingly electronic. | |||||||||
| In jazz, amplified acoustic instruments and synthesizers were mixed in a series of influential recordings by Weather Report. Joe Zawinul, the synthesizer player in that group, has continued to field ensembles of the same kind. The noted jazz pianist Herbie Hancock with his band the Headhunters in the 1970s also introduced jazz listeners to a wider palette of electronic sounds including the synthesizer, which he further explored with even more enthusiasm on the Future Shock album, a collaboration with producer Bill Laswell in the 1980s, which spawned a pop hit "Rockit" in 1983. | |||||||||
| > Post-rave
fusions > Growing commercial interest |
|||||||||
| > Styles
of ambient : music * Organic ambient music * Nature inspired ambient music * Isolationist ambient music * Ambient electronic music * Ambient dub * Ambient groove |
|||||||||
| Musicians such as Brian Eno, Vangelis, Jean Michel Jarre, the Japanese Isao Tomita, Kitaro and Tangerine Dream also popularised the sound of electronic music. The film industry also began to make extensive use of electronic music in soundtracks; an example of a film whose soundtrack is heavily dependent upon this is Stanley Kubrick's film of Anthony Burgess's novel A Clockwork Orange. Forbidden Planet had used an electronic score in 1956 and, once electronic sounds became a more common part of popular recordings, other science fiction films such as Blade Runner and the Alien series of movies began to depend heavily for mood and ambience upon the use of electronic music and electronically derived effects. Electronic groups were also hired to produce entire soundtracks, in the same way as other popular music stars. | |||||||||
 |
|||||||||
| > History > Musicology |
|||||||||
| In the late 1970s and early 1980s there was a great deal of innovation around the development of electronic music instruments. Analogue synthesisers largely gave way to digital synthesisers and samplers. Early samplers, like early synthesisers, were large and expensive pieces of gear -- companies like Fairlight and New England Digital sold instruments that cost upwards of $100,000. In the mid 1980s, this changed with the development of low cost samplers. From the late 1970s onward, much popular music was developed on these machines. Groups like Heaven 17, Severed Heads, The Human League, Yaz, The Art of Noise, Orchestral Manoeuvres in the Dark, and New Order developed entirely new ways of making popular music by electronic means. | |||||||||
| HOUSE MUSIC | |||||||||
| > Late
1960s to early 1980s > Early 1980s-Late 1980s : Chicago years > Late 1980s-Early 1990s : British Connection > Social aspects of raves > Late 1980s to early 1990s : United States > Early 1990s to mid 1990s : " Summer Love" > Mid-1990s & beyond > The rise of the UK "superclub" |
|||||||||
| The natural ability for music machines to make stochastic, non-harmonic, staticky noises led to a genre of music known as industrial music led by pioneering groups such as Throbbing Gristle (which commenced operation in 1975) and Cabaret Voltaire. Some artists, like Nine Inch Nails, KMFDM, and Severed Heads, took some of the adventurous innovations of musique concrète and applied them to mechanical dance beats. Others, such as Test Department, Einstürzende Neubauten, took this new sound at face value and created hellish electronic compositions. Meanwhile, other groups (Robert Rich, :zoviet*france:, rapoon) took these harsh sounds and melded them into evocative soundscapes. Still others (Front 242, Skinny Puppy) combined this harshness with the earlier, more pop-oriented sounds, forming electronic body music (EBM). | |||||||||
| > History > Musicology |
|||||||||
| < Previous page | |||||||||
| Terms & Conditions | Copyright | Privacy Policy | Credits | < Back to Home | ||