Post WWII - "Revolutionary" <br>Availability of high quality magnetic tape recording<br><br>magnetic recording - patented 1899<br>quality - voice recording / dictation machines<br><br>wire, metal band (film)<br><br>Germans - magnetic<br>sound quality was "good enough" for music<br><br>musicians, recording engineers, radio engineers, etc.<br><br>disc (phonograph), light valve recording (film)<br><br>"tape manipulation techniques" <br>&nbsp;- speed<br>&nbsp;- reverse<br>&nbsp;- any sound (!)<br>&nbsp;- echo<br>&nbsp;- splice<br>&nbsp;- overdub<br><br>Composers became interested!<br><br>1. Any sound<br>2. Sound as an object (permanent) ("ephemeral")<br><br>1950-1960<br><br>France - musique concrete<br>&nbsp;(not "abstract" sounds, but "concrete" or real sounds)<br>sounds from the world - organized around a "sound type"<br><br>(* TMT)<br><br>Germany - Elektronische Musik<br>Electronically generated sounds<br>(Serialism - 12 tone system) - ultimate control over structure<br><br>(* TMT)<br><br>USA - "tape music" <br><br>(* TMT)<br><br>Multiple "schools" of thought<br><br>Columbia-Princeton Electronic Music Studio<br>&nbsp;- recorded musical instruments: "extend" the sound capabilities<br><br>"experimental" - chance music / aleatoric music<br>John Cage<br><br>Edgard Varese&nbsp; - poeme electronique<br>Commissioned for Brussels World Fair - 1950s <br>Phillips Pavilion - <br><br>