Editing Electronic music (section)

===Elektronische Musik, Germany===
[[File:Stockhausen 1991 Studio.jpg|thumb|Karlheinz Stockhausen in the Electronic Music Studio of WDR, Cologne, in 1991]]
[[Karlheinz Stockhausen]] worked briefly in Schaeffer's studio in 1952, and afterward for many years at the [[Westdeutscher Rundfunk|WDR]] Cologne's [[Studio for Electronic Music (WDR)|Studio for Electronic Music]].

1954 saw the advent of what would now be considered authentic electric plus acoustic compositions—acoustic instrumentation augmented/accompanied by recordings of manipulated or electronically generated sound. Three major works were premiered that year: Varèse's ''Déserts'', for chamber ensemble and tape sounds, and two works by [[Otto Luening]] and [[Vladimir Ussachevsky]]: ''Rhapsodic Variations for the Louisville Symphony'' and ''A Poem in Cycles and Bells'', both for orchestra and tape. Because he had been working at Schaeffer's studio, the tape part for Varèse's work contains much more concrete sounds than electronic. "A group made up of wind instruments, percussion and piano alternate with the mutated sounds of factory noises and ship sirens and motors, coming from two loudspeakers."<ref name="qtrckp">{{harvnb|Kurtz|1992|pp=75–76}}.</ref>

At the German premiere of ''Déserts'' in Hamburg, which was conducted by [[Bruno Maderna]], the tape controls were operated by [[Karlheinz Stockhausen]].<ref name="qtrckp" /> The title ''Déserts'' suggested to Varèse not only "all physical deserts (of sand, sea, snow, of outer space, of empty streets), but also the deserts in the mind of man; not only those stripped aspects of nature that suggest bareness, aloofness, timelessness, but also that remote inner space no telescope can reach, where man is alone, a world of mystery and essential loneliness."{{sfn|Anonymous|1972}}

In Cologne, what would become the most famous electronic music studio in the world, was officially opened at the radio studios of the [[NWDR]] in 1953, though it had been in the planning stages as early as 1950 and early compositions were made and broadcast in 1951.{{sfn|Eimert|1972|p=349}} The brainchild of [[Werner Meyer-Eppler]], Robert Beyer, and [[Herbert Eimert]] (who became its first director), the studio was soon joined by Karlheinz Stockhausen and [[Gottfried Michael Koenig]]. In his 1949 thesis ''Elektronische Klangerzeugung: Elektronische Musik und Synthetische Sprache'', Meyer-Eppler conceived the idea to synthesize music entirely from electronically produced signals; in this way, ''elektronische Musik'' was sharply differentiated from French ''musique concrète'', which used sounds recorded from acoustical sources.{{sfn|Eimert|1958|p=2}}{{sfn|Ungeheuer|1992|p=117}}

In 1953, Stockhausen composed his ''[[Studie I]]'', followed in 1954 by ''[[Studie II|Elektronische Studie II]]''—the first electronic piece to be published as a score. In 1955, more experimental and electronic studios began to appear. Notable were the creation of the [[Studio di fonologia musicale di Radio Milano]], a studio at the [[NHK]] in Tokyo founded by [[Toshiro Mayuzumi]], and the Philips studio at [[Eindhoven]], the Netherlands, which moved to the [[University of Utrecht]] as the [[Institute of Sonology]] in 1960.

"With Stockhausen and [[Mauricio Kagel]] in residence, [Cologne] became a year-round hive of charismatic avant-gardism."<ref>({{harvnb|Lebrecht|1996|p=75}}): "... at Northwest German Radio in Cologne (1953), where the term 'electronic music' was coined to distinguish their pure experiments from musique concrete..."</ref> on two occasions combining electronically generated sounds with relatively conventional orchestras—in ''[[Mixtur]]'' (1964) and ''[[Hymnen|Hymnen, dritte Region mit Orchester]]'' (1967).{{sfn|Stockhausen|1978|pp=73–76, 78–79}} Stockhausen stated that his listeners had told him his electronic music gave them an experience of "outer space", sensations of flying, or being in a "fantastic dream world".<ref>"In 1967, just following the world premiere of ''[[Hymnen]]'', Stockhausen said about the electronic music experience: '... Many listeners have projected that strange new music which they experienced—especially in the realm of electronic music—into extraterrestrial space. Even though they are not familiar with it through human experience, they identify it with the fantastic dream world. Several have commented that my electronic music sounds "like on a different star", or "like in outer space." Many have said that when hearing this music, they have sensations as if flying at an infinitely high speed, and then again, as if immobile in an immense space. Thus, extreme words are employed to describe such experience, which is not "objectively" communicable in the sense of an object description, but rather which exist in the subjective fantasy and which are projected into the extraterrestrial space'" ({{harvnb|Holmes|2002|p=145}}).</ref>