Editing Electronic music (section)

===Proliferation of electronic music research institutions===
{{ill|Elektronmusikstudion|sv|vertical-align=sup}} (EMS), formerly known as Electroacoustic Music in Sweden, is the Swedish national centre for electronic music and [[sound art]]. The research organisation started in 1964 and is based in Stockholm.

[[File:L'été à Paris (9276072323).jpg|thumb|IRCAM at the Place Igor Stravinsky, Paris]]
[[STEIM]] (1969-2021) was a center for [[experimental musical instrument|research and development of new musical instruments]] in the electronic performing arts, located in Amsterdam, Netherlands. It was founded by [[Misha Mengelberg]], [[Louis Andriessen]], [[Peter Schat]], [[Dick Raaymakers]], {{ill|Jan van Vlijmen|nl|Jan van Vlijmen|vertical-align=sup}}, [[Reinbert de Leeuw]], and [[Konrad Boehmer]]. This group of Dutch composers had fought for the reformation of Amsterdam's feudal music structures; they insisted on Bruno Maderna's appointment as musical director of the Concertgebouw Orchestra and enforced the first public fundings for experimental and improvised electronic music in the Netherlands. From 1981-2008, [[Michel Waisvisz]] was artistic director, and his live-electronic instruments like the [[Kraakdoos|Cracklebox]] or The Hands inspired international artists to work at STEIM which entertained a residency program since 1992.

[[IRCAM]] in Paris became a major center for computer music research and realization and development of the [[Sogitec 4X]] computer system,<ref name="Schutterhoef2007">{{harvnb|van Schutterhoef|2007}} {{cite web|title=Sogitec 4X|url=http://knorretje.hku.nl/wiki/Sogitec_4X|archive-url=https://web.archive.org/web/20131104025834/http://knorretje.hku.nl/wiki/Sogitec_4X|archive-date=4 November 2013|access-date=13 January 2010}}.</ref> featuring then revolutionary real-time [[digital signal processing]]. [[Pierre Boulez]]'s ''[[Répons]]'' (1981) for 24 musicians and 6 soloists used the 4X to transform and route soloists to a loudspeaker system.

[[Barry Vercoe]] describes one of his experiences with early computer sounds:
[[File:IRCAM 4X.jpg|thumb|[[Sogitec 4X]] (c. 1983)<ref>
{{cite web
 | author    = Nicolas Schöffer
 | date      = December 1983
 | language  = fr
 | title     = Variations sur 600 Structures Sonores – Une nouvelle méthode de composition musicale sur l'ordinateur 4X
 | url       = http://www.olats.org/schoffer/var600.htm
 | archive-url= https://web.archive.org/web/20120417214621/http://www.olats.org/schoffer/var600.htm
 | archive-date=17 April 2012
 | work      = Leonardo On-Line
 | publisher = Leonardo/International Society for the Arts, Sciences and Technology (ISAST)
 | quote     = {{lang|fr|L'ordinateur nous permet de franchir une nouvelle étape quant à la définition et au codage des sons, et permet de créer des partitions qui dépassent en complexité et en précision les possibilités d'antan. La methode de composition que je propose comporte plusieurs phases et nécessite l'emploi d'une terminologie simple que nous définirons au fur et à mesure : Trames, paves, briques et modules.}}}}</ref> at IRCAM machine room in 1989]]
{{blockquote|At IRCAM in Paris in 1982, flutist [[Larry Beauregard]] had connected his flute to DiGiugno's [[Sogitec 4X|4X]] audio processor, enabling real-time pitch-following. On a [[Guggenheim Fellowship|Guggenheim]] at the time, I extended this concept to real-time score-following with automatic synchronized accompaniment, and over the next two years Larry and I gave numerous demonstrations of the computer as a chamber musician, playing [[Handel]] flute sonatas, [[Boulez]]'s ''Sonatine'' for flute and piano and by 1984 my own ''Synapse II'' for flute and computer—the first piece ever composed expressly for such a setup. A major challenge was finding the right software constructs to support highly sensitive and responsive accompaniment. All of this was pre-MIDI, but the results were impressive even though heavy doses of tempo rubato would continually surprise my {{em|Synthetic Performer}}. In 1985 we solved the tempo rubato problem by incorporating ''learning from rehearsals'' (each time you played this way the machine would get better). We were also now tracking violin, since our brilliant, young flautist had contracted a fatal cancer. Moreover, this version used a new standard called MIDI, and here I was ably assisted by former student Miller Puckette, whose initial concepts for this task he later expanded into a program called [[Max (software)|MAX]].{{sfn|Vercoe|2000|pp=xxviii–xxix}}}}