Editing Electronic music (section)

===Japan===
{{Confusing section|date=March 2012}}
{{multiple image |direction=horizontal |align=right
 | image1 = Yamaha Magna Organ (1935) Console.jpg |width1=114
 | image2 = Yamaha Magna Organ (1935) Tone Cabinet.jpg |width2=102
 | footer = [[Yamaha Magna Organ]] and the designated tone cabinet (1935)<ref name=Yamaha1935/>
}}

Among the earliest group of electric musical instruments in Japan was the [[Yamaha Magna Organ]], an electroacoustic instrument built in 1935.<ref name=Yamaha1935>Before the Second World War in Japan, several "electrical" instruments seem already to have been developed (''see [[:ja:電子音楽#黎明期]]''), and in 1935 a kind of "''electronic''" musical instrument, the [[Yamaha Magna Organ]], was developed. It seems to be a multi-timbral keyboard instrument based on electrically blown [[free reed]]s with [[Pickup (music technology)|pickup]]s, possibly similar to the [[electrostatic reed organ]]s developed by Frederick Albert Hoschke in 1934 then manufactured by [[Everett Piano Company|Everett]] and [[Rudolph Wurlitzer Company|Wurlitzer]] until 1961.
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{{cite news
 |script-title = ja:一時代を画する新楽器完成 浜松の青年技師山下氏
 |trans-title  = An epoch-defining new musical instrument was developed by a young engineer Mr.Yamashita in Hamamatsu
 |url          = http://www.lib.kobe-u.ac.jp/das/jsp/ja/ContentViewM.jsp?METAID=00078861&TYPE=PRINT_FILE&POS=1
 |language     = ja
 |newspaper    = [[Hochi Shimbun]]
 |date         = 8 June 1935
 |access-date  = 30 December 2011
 |archive-date = 12 March 2012
 |archive-url  = https://web.archive.org/web/20120312131652/http://www.lib.kobe-u.ac.jp/das/jsp/ja/ContentViewM.jsp?METAID=00078861&TYPE=PRINT_FILE&POS=1
 }}
|{{cite book
 |script-title = ja:新電氣樂器 マグナオルガンの御紹介
 |trans-title  = New Electric Musical Instrument – Introduction of the Magna Organ
 |url          = http://blog.goo.ne.jp/1971913/e/42d486d769c1ce9c2c5a426e00f18b68
 |language     = ja
 |date         = October 1935
 |publisher    = 日本樂器製造株式會社 ([[Yamaha Corporation|Yamaha]])
 |location     = Hamamatsu
 |quote        = 特許第一〇八六六四号, 同 第一一〇〇六八号, 同 第一一一二一六号
}}
}}</ref> After World War II, Japanese composers such as [[Minao Shibata]] began to learn of the development of electronic musical instruments in other countries. By the late 1940s, Japanese composers began experimenting with electronic music, and institutional sponsorship enabled them to experiment with advanced equipment. Their infusion of [[Music of Asia|Asian music]] into the emerging genre would eventually support Japan's popularity in the development of music technology several decades later.<ref name="holmes_106">{{harvnb|Holmes|2008|p=106}}.</ref>

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.{{sfn|Holmes|2008|pp=106, 115}} Takemitsu had ideas similar to [[musique concrète]], which he was unaware of, while Shibata foresaw the development of [[Synthesizer|synthesizers]] and predicted a drastic change in music.{{sfn|Fujii|2004|pp=64–66}} Sony began producing popular [[magnetic tape]] recorders for government and public use.<ref name="holmes_106"/><ref name="fujii_66">{{harvnb|Fujii|2004|p=66}}.</ref>

The avant-garde collective [[Jikken Kōbō]] (Experimental Workshop), 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.{{sfn|Holmes|2008|pp=106–107}} The first electronic tape pieces by the group were "Toraware no Onna" ("Imprisoned Woman") and "Piece B", composed in 1951 by Kuniharu Akiyama.<ref name="holmes_107">{{harvnb|Holmes|2008|p=107}}.</ref> Many of the [[Electroacoustic music|electroacoustic]] tape pieces they produced were used as incidental music for radio, film, and theatre. They also held concerts employing a [[slide show]] synchronized with a recorded soundtrack.{{sfn|Fujii|2004|pp=66–67}} 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.<ref name="fujii_66" />

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, a radio broadcast, and a radio drama.<ref name="holmes_107" /><ref name="fujii_64">{{harvnb|Fujii|2004|p=64}}.</ref> However, Schaeffer's concept of ''[[sound object]]'' was not influential among Japanese composers, who were mainly interested in overcoming the restrictions of human performance.<ref name="fujii_65">{{harvnb|Fujii|2004|p=65}}.</ref> This led to several Japanese [[electroacoustic music]]ians making use of [[serialism]] and [[twelve-tone technique]]s,<ref name="fujii_65" /> evident in [[Yoshirō Irino]]'s 1951 [[dodecaphonic]] piece "Concerto da
Camera",<ref name="fujii_64" /> in the organization of electronic sounds in Mayuzumi's "X, Y, Z for Musique Concrète", and later in Shibata's electronic music by 1956.<ref name="holmes_108">{{harvnb|Holmes|2008|p=108}}.</ref>

Modelling the [[Nordwestdeutscher Rundfunk|NWDR]] studio in Cologne, an [[NHK]] electronic music studio was established  by Mayuzumi in Tokyo in 1954, which became one of the world's leading electronic music facilities. The studio was equipped with technologies such as tone-generating and audio processing equipment, recording and radiophonic equipment, [[Ondes Martenot|ondes Martenots]], [[Monochord|Monochords]] and [[Melochord|Melochords]], sine-wave [[oscillator]]s, tape recorders, [[ring modulator]]s, [[band-pass filter]]s, and four- and eight-channel [[Mixing console|mixer]]s. Musicians associated with 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".{{sfn|Holmes|2008|pp=108, 114–115}}<ref name="loubet_11">{{harvnb|Loubet|1997|p=11}}</ref>