The increasing speed of technological development, the proliferation of means, works and styles as well as the development of more and more flexible and simpler tools begin to have an important impact everywhere. Computers are not only much smaller than in the 1960s but also much more accessible to the general public. In the musical world it now has a multiplicity of roles, being used to do sound synthesis, multitracking and analysis, to assist or execute compositional tasks, to synchronize equipment in performance (using MIDI as a rhythmic generator, for example), etc.

Inspired by the possibilities, artists explore and develop new modes of expression. In Québec, for example, thanks to the indefatigable devotion of such individuals as Marcelle Deschênes, alcides lanza, Kevin Austin, Yves Daoust, Francis Dhomont, etc., a “Montréal æsthetic” slowly begins to emerge. Jean Piché and others compose their first Computer Music works, while others, such as Bruce Pennycook or Alain Thibault, seek to create a sort of hybrid between traditional modes of performance and computer synthesis.

Electroacoustic music now has established presence in the Western world.
Development of computer-assisted music. The computer can be programmed to control one or more synthesizers for use in live performance (e.g. Buchla). 

Now involved in the industry of developing digital synthesis tools and instruments, Japan very quickly produces important results.

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  Bernard Donzel-Gargand - Dispersion (00:14:17) 

Pekka Siren - Touch)  Pekka Siren - Touch (00:05:57) 
Development of digital recording technologies.
Michel Redolfi composes “subaquatic music”.

Barbara Golden - Final Spin  Barbara Golden - Final Spin (00:10:21) 

John Wells - Early one Friday…)  John Wells - Early one Friday… (00:06:13) 

Bentley Jarvis - Ice)  Bentley Jarvis - Ice (00:21:34) 

Iván Patachich - Touch)  Iván Patachich - Alterego (00:10:09) 
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  Harry Kirschner - Ancient Music (00:17:50) 

Vitazoslav Kubicka - And Even Stone Would Cry)  Vitazoslav Kubicka - And Even Stone Would Cry (00:07:57) 

Denis Smalley - Vortex)  Denis Smalley - Vortex (00:15:45) 

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  Joshua & Tabitha Bedoukian - Clipperfix—Super song (00:13:41) 

Francine Noël - Gotta Keep the Drama Going  Francine Noël - Gotta Keep the Drama Going (00:03:18) 

Jon H. Appleton - Boum Sha Boom  Jon H. Appleton - Boum Sha Boom (00:05:38) 

A. Jacques Coutu - Étude d’attaques et de résonnances  A. Jacques Coutu - Étude d’attaques et de résonnances (00:04:00) 

Stephen Montague - Slow Dance on a Burial Ground  Stephen Montague - Slow Dance on a Burial Ground (00:24:30) 
  1980 1981 1982 1983
  1980 1981 1982 1983

Produced with the financial participation of the Department of Canadian Heritage

Patrimoine canadien      Gouvernement du Canada


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Projet d’archivage Concordia (PAC) Communauté électroacoustique canadienne / Canadian Electroacoustic Community