Editing Electronic music (section)

===Mid-to-late 1950s===

The impact of computers continued in 1956. [[Lejaren Hiller]] and [[Leonard Isaacson]] composed ''[[Illiac Suite]]'' for [[string quartet]], the first complete work of computer-assisted composition using [[algorithm]]ic composition. "... Hiller postulated that a computer could be taught the rules of a particular style and then called on to compose accordingly."{{sfn|Schwartz|1975|p=347}} Later developments included the work of [[Max Mathews]] at [[Bell Laboratories]], who developed the influential [[MUSIC-N|MUSIC I]] program in 1957, one of the first computer programs to play electronic music. [[Vocoder]] technology was also a major development in this early era. In 1956, Stockhausen composed ''[[Gesang der Jünglinge]]'', the first major work of the Cologne studio, based on a text from the ''[[Book of Daniel]]''. An important technological development of that year was the invention of the [[Clavivox]] synthesizer by [[Raymond Scott]] with subassembly by [[Robert Moog]].

In 1957, Kid Baltan ([[Dick Raaymakers]]) and [[Tom Dissevelt]] released their debut album, ''Song Of The Second Moon'', recorded at the Philips studio in the Netherlands.{{sfn|Harris|2018}} The public remained interested in the new sounds being created around the world, as can be deduced by the inclusion of Varèse's ''[[Poème électronique]]'', which was played over four hundred loudspeakers at the Philips Pavilion of the 1958 [[Expo 58|Brussels World Fair]]. That same year, [[Mauricio Kagel]], an [[Argentina|Argentine]] composer, composed ''Transición II''. The work was realized at the WDR studio in Cologne. 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.

[[File:RCA Mark II Sound Synthesizer.jpg|thumb|[[RCA Mark II Sound Synthesizer]]]]

In 1958, Columbia-Princeton developed the [[RCA Mark II Sound Synthesizer]], the first programmable synthesizer.{{sfn|Holmes|2008|pp=145–146}} Prominent composers such as Vladimir Ussachevsky, Otto Luening, [[Milton Babbitt]], [[Charles Wuorinen]], Halim El-Dabh, [[Bülent Arel]] and [[Mario Davidovsky]] used the [[RCA]] Synthesizer extensively in various compositions.{{sfn|Rhea|1980|p=64}} One of the most influential composers associated with the early years of the studio was Egypt's [[Halim El-Dabh]] who,{{sfn|Holmes|2008|p=153}} after having developed the earliest known electronic tape music in 1944,<ref name="wire_2007"/> became more famous for ''Leiyla and the Poet'', a 1959 series of electronic compositions that stood out for its immersion and [[Fusion (music)|fusion]] of electronic and [[folk music]], in contrast to the more mathematical approach used by [[Serialism|serial]] composers of the time such as Babbitt. El-Dabh's ''Leiyla and the Poet'', released as part of the album ''[[Columbia–Princeton Electronic Music Center (album)|Columbia-Princeton Electronic Music Center]]'' in 1961, would be cited as a strong influence by a number of musicians, ranging from [[Neil Rolnick]], [[Charles Amirkhanian]] and [[Alice Shields]] to rock musicians [[Frank Zappa]] and [[The West Coast Pop Art Experimental Band]].{{sfn|Holmes|2008|pp=153–154, 157}}

Following the emergence of differences within the GRMC (Groupe de Recherche de Musique Concrète) Pierre Henry, Philippe Arthuys, and several of their colleagues, resigned in April 1958. Schaeffer created a new collective, called [[Musique concrète#Groupe de Recherches Musicales|Groupe de Recherches Musicales]] (GRM) and set about recruiting new members including [[Luc Ferrari]], [[Beatriz Ferreyra]], [[François-Bernard Mâche]], [[Iannis Xenakis]], [[Bernard Parmegiani]], and [[Mireille Chamass-Kyrou]]. Later arrivals included [[Ivo Malec]], Philippe Carson, Romuald Vandelle, Edgardo Canton and [[François Bayle]].{{sfn|Gayou|2007a|p=207}}