The 1960s are characterized in part by the appearance of a new generation of musicians and of new means and methods in musical creation. New performance genres would emerge, notably “mixed” music and “live electronic”, the latter enjoying great popularity in the 1970s.
Among the better know are Gentle Fire (Hugh Davies et al), Intermodulations (Smalley et al), Musica Elettronica Viva (Rzewski et al), Sonic Art Union (Ashley, Behrman, Lucier, Mumma), Stockhausen Ensemble, etc. In Canada, of note were MUD-Sonde (Montréal), GIMMEL (Université Laval), the Canadian Electronic Ensemble (CEE, Toronto) and MetaMusic (Montréal).
Several Canadian composers became interested in electroacoustics, including Pierre Mercure, Maurice Blackburn, alcides lanza, Otto Joachim, István Anhalt, Gilles Tremblay, Michel Longtin, Micheline Coulombe Saint-Marcoux, etc. However, apart from Serge Garant — who composed the first Canadian mixed work — and especially the work of lanza, Blackburn and Mercure, it would not be until the 1970s and 80s that composers who dedicated themselves more exclusively to electroacoustics would appear.
Thanks to the developments of microprocessors and transistors, synthesizers were decreasing in size and becoming more available in the mainstream, particularly in the USA, but also in England. A few names from the period: Prophet 5 (1978), Moog, Mellotron, Synclavier. Technological developments would have great influence on the stylistic cross-fertilization that characterizes this period.
INTRODUCTION 
István Anhalt - Electronic Composition No. 3 “Birds & Bells“ (00:10:17) 
