Editing Audio feedback (section)

===Examples in modern classical music===
Though closed circuit feedback was a prominent feature in many early experimental [[electronic music]] compositions, intentional acoustic feedback as sound material gained more prominence with compositions such as [[John Cage]]'s ''Variations II'' (1961) performed by [[David Tudor]] and [[Robert Ashley]]'s ''The Wolfman'' (1964). [[Steve Reich]] makes extensive use of audio feedback in his work ''[[Pendulum Music]]'' (1968) by swinging a series of microphones back and forth in front of their corresponding amplifiers.<ref name="van Eck">{{cite book|last1=van Eck|first1=Cathy|title=Between Air and Electricity - Microphones and Loudspeakers as Musical Instruments|date=2017|publisher=Bloomsbury Academic|isbn=978-1-5013-2760-5}}</ref>{{rp|88}} [[Hugh Davies (composer)|Hugh Davies]]<ref name="van Eck" />{{rp|84}} and [[Alvin Lucier]]<ref name="van Eck" />{{rp|91}} both use feedback in their works. [[Roland Kayn]] based much of his compositional oeuvre, which he termed "[[cybernetic]] music," on audio systems incorporating feedback.<ref>{{cite web |title=Cybernetic Music |url=https://kayn.nl/ |website=kayn.nl |access-date=28 April 2024}}</ref><ref>{{cite journal |last1=Patteson |first1=Thomas |title=The Time of Roland Kayn's Cybernetic Music |journal=Sonic Acts |date=2012 |volume=14 |pages=47-67 |url=http://www.thomaspatteson.com/uploads/7/3/8/8/7388316/the_time_of_roland_kayns_cybernetic_music__thomas_patteson_.pdf |access-date=28 April 2024}}</ref> More recent examples can be found in the work of, for example, Lara Stanic,<ref name="van Eck" />{{rp|163}} Paul Craenen,<ref name="van Eck" />{{rp|159}} Anne Wellmer,<ref name="van Eck" />{{rp|93}} [[Adam Basanta]],<ref>{{cite web|last1=van Eck|first1=Cathy|title=Small Movements by Adam Basanta|url=http://microphonesandloudspeakers.com/2017/07/06/small-movements-adam-basanta/|website=Between Air and Electricity|date=6 July 2017|access-date=22 December 2017}}</ref> Lesley Flanigan,<ref>{{cite web|last1=van Eck|first1=Cathy|title=Speaker Feedback Instruments by Lesley Flanigan|url=http://microphonesandloudspeakers.com/2017/05/16/speaker-feedback-instruments-lesley-flanigan/|website=Between Air and Electricity|date=16 May 2017|access-date=22 December 2017}}</ref>  Ronald Boersen,<ref>{{cite web|last1=van Eck|first1=Cathy|title=Sound in a Jar by Ronald Boersen|url=http://microphonesandloudspeakers.com/2017/06/09/sound-in-a-jar-ronald-boersen/|website=Between Air and Electricity|date=9 June 2017|access-date=22 December 2017}}</ref> Erfan Abdi.<ref>{{cite web|last1=van Eck|first1=Cathy|title=Points of Contact by Erfan Abdi|url=http://microphonesandloudspeakers.com/2017/10/10/points-of-contact-erfan-abdi/|website=Between Air and Electricity|date=10 October 2017|access-date=22 December 2017}}</ref> and Tyler Quinn <ref>{{cite web |last=Quinn |first=Tyler |title=Afferent Manifestations via Reflective Pressure |url=https://afferentmanifestations.bandcamp.com/album/afferent-manifestations-via-reflective-pressure |access-date=24 February 2025}}</ref>