 |
1980-1985
EMERGENCE OF COMPUTER MUSIC AND ITS DERIVATIVES
1980
Development of computer-assisted music. The computer can be programmed to control one or more synthesizers for use in live performance (e.g. Buchla). 
Japan
Now involved in the industry of developing digital synthesis tools and instruments, Japan very quickly produces important results.
France
At IRCAM, Pierre Boulez composes Répons, a work using a computer called 4X that is used to process the instrumental sounds in real-time. Digitization becomes an very powerful tool for the development of creative activities and has great impact on all areas of electroacoustic creation.
 Bernard Donzel-Gargand - Dispersion (00:14:17)
Pekka Siren - Touch (00:05:57)
|
|
 |
1981
France
Development of digital recording technologies.
Michel Redolfi composes “subaquatic music”.
Barbara Golden - Final Spin (00:10:21)
John Wells - Early one Friday… (00:06:13)
Bentley Jarvis - Ice (00:21:34)
Iván Patachich - Alterego (00:10:09)
|
|
| |
1982
The invention of the MIDI protocol is one of the first manifestations of the idea of the “network”. This idea would have a great impact in the 1990s (via the Internet, for example).
Harry Kirschner - Ancient Music (00:17:50)
Vitazoslav Kubicka - And Even Stone Would Cry (00:07:57)
Denis Smalley - Vortex (00:15:45)
|
|
|
1983
The Yamaha DX7 is the first synthesizer offering FM synthesis available in the mainstream (100,000 will be sold).
The decline of analogue synthesizers begins, although there would be renewed interest in them in the 2000s via the techno music scenes.
The CD appears on the market. After a somewhat fragile and uncertain debut, the CD dethrones the traditional 33-1/3 and 45 rpm vinyl disc near the end of the 1980s. DJs take possession of the remaining stock!
Joshua & Tabitha Bedoukian - Clipperfix—Super song (00:13:41)
Francine Noël - Gotta Keep the Drama Going (00:03:18)
Jon H. Appleton - Boum Sha Boom (00:05:38)
A. Jacques Coutu - Étude d’attaques et de résonnances (00:04:00)
Stephen Montague - Slow Dance on a Burial Ground (00:24:30)
|
|
|
|
|
|
| |
|
INTRODUCTION 
