Editing Electronic music (section)

===United States===
In the United States, electronic music was being created as early as 1939, when John Cage published ''[[Imaginary Landscape, No. 1]]'', using two variable-speed turntables, frequency recordings, muted piano, and cymbal, but no electronic means of production. Cage composed five more "Imaginary Landscapes" between 1942 and 1952 (one withdrawn), mostly for percussion ensemble, though No. 4 is for twelve radios and No. 5, written in 1952, uses 42 recordings and is to be realized as a magnetic tape. According to Otto Luening, Cage also performed ''[[Williams Mix]]'' at Donaueschingen in 1954, using eight loudspeakers, three years after his alleged collaboration.{{Clarify|date=October 2014}}<!--Three years before 1954 is 1951. Feldman here is said vaguely to have collaborated with Cage "later" than 1951. In fact, Feldman was associated with Cage mainly from 1949 to 1953. So what exactly is this "alleged collaboration"?--> ''Williams Mix'' was a success at the [[Donaueschingen Festival]], where it made a "strong impression".{{sfn|Luening|1968|p=136}}

The Music for Magnetic Tape Project was formed by members of the [[New York School (art)|New York School]] ([[John Cage]], [[Earle Brown]], [[Christian Wolff (composer)|Christian Wolff]], [[David Tudor]], and [[Morton Feldman]]),<ref name="NYschool2">{{harvnb|Johnson|2002|p=2}}.</ref> and lasted three years until 1954. Cage wrote of this collaboration: "In this social darkness, therefore, the work of Earle Brown, Morton Feldman, and Christian Wolff continues to present a brilliant light, for the reason that at the several points of notation, performance, and audition, action is provocative."<ref name="NYschool3">{{harvnb|Johnson|2002|p=4}}.</ref>

Cage completed ''Williams Mix'' in 1953 while working with the Music for Magnetic Tape Project.<ref name="NYschool1">"Carolyn Brown [Earle Brown's wife] was to dance in Cunningham's company, while Brown himself was to participate in Cage's 'Project for Music for Magnetic Tape.'... funded by Paul Williams (dedicatee of the 1953 ''Williams Mix''), who—like [[Robert Rauschenberg]]—was a former student of Black Mountain College, which Cage and Cunnigham had first visited in the summer of 1948" ({{harvnb|Johnson|2002|p=20}}).</ref> The group had no permanent facility, and had to rely on borrowed time in commercial sound studios, including the studio of [[Bebe and Louis Barron]].