During these years, some of the most significant changes are the increasingly rapid appearance of new sound recording and sound processing technologies and an even greater democratization of the means of production. For example, signal processors develop incredibly fast: relatively affordable reverb, equalizers and harmonizers are available in vast quantities.

The personal computer becomes an essential tool in sound creation and a number of software programmes dedicated to recording and sound processing are found everywhere. These are amongst the important factors which help define the emergence of a new generation of composers. Digital technologies change how composers approach sound, as they allow for an essentially unlimited number of treatments with little or no degradation in the of sound quality (contrary to analogue storage formats).

Simultaneously, an interesting phenomenon occurs. Artists working in other genres or artistic fields also have access to these new technologies and use them in the exploration of new and fertile territories. This leads to the emergence of a number of new or hybrid æsthetics and genres, in which these new means are used in varying degrees and to various ends. It should however be noted that while some of these genres have more or less clear roots and history — improvisation, industrial music, techno, lo-tech, electronica, etc. — the methods and sounds are fresh.

These new technological tool also allow the creation of massive sound performances and installations by such artists as Bill Fontana and Alvin Curran.

François Guérin - Nuits  François Guérin - Nuits (00:09:39) 

Normand Gendron - Neila)  Normand Gendron - Neila (00:10:49) 

Pierre Bouchard - Movements in Trans-Art)  Pierre Bouchard - Movements in Trans-Art (00:08:36) 

Kathleen Yearwood)  Kathleen Yearwood - [ ] (00:12:10) 

Philippe Ménard - Conte-a-nino)  Philippe Ménard - Conte-a-nino (00:11:25) 
Digital sound recording and reproduction technologies begin to change.

John Rimmer - Fleeting Images  John Rimmer - Fleeting Images (00:12:29) 

Jill Bedoukian - Living Water)  Jill Bedoukian - Living Water (00:08:35) 

Pierre Gauvin - Réunions)  Pierre Gauvin - Réunions (00:13:44) 

Jean-François Denis - An Iceman with a Horse with Blinders)  Jean-François Denis - An Iceman with a Horse with Blinders (00:13:33) 

Claude Frenette - lisser son visage comme au fil du temps...)  Claude Frenette - lisser son visage comme au fil du temps... (00:48:22) 

Jean R. Séguin - Pluie acide)  Jean R. Séguin - Pluie acide (00:15:28) 
Studio Grame presents music composed for computer-assisted spatial distribution.

Yamaha and Atari attempt to create computers specifically designed for musical creation. The CX5M, with its 32kB of memory (10kB of which were needed for the programme to function!), would be a failure. The Atari, however, had its “15 minutes of fame” before being eclipsed by software programmes such as Pro Tools, Qbase, etc.

Robert MacNevin - Glass Chant  Robert MacNevin - Glass Chant (00:18:32) 

Guy Michel - Vive les bonnes laveuses à tordeur)  Guy Michel -Vive les bonnes laveuses à tordeur (00:03:55) 

Gilles Gobeil - Rivage)  Gilles Gobeil - Rivage (00:08:47) 

CECG/GEC (Pierre Bouchard, Eric Brown) - Panoramique lent)  CECG/GEC (Pierre Bouchard, Eric Brown) - Panoramique lent (00:16:20) 

Ricardo Dal Farra - Karma)  Ricardo Dal Farra - Karma (00:05:40) 

Adolfo Núñez - Press)  Adolfo Núñez - Press (00:09:09) 

Charles Bestor - Suite from “Pathways from the Dream Spell Series”  Charles Bestor - Suite from “Pathways from the Dream Spell Series” (00:16:35) 

Robert Normandeau - Rumeurs)  Robert Normandeau - Rumeurs (Place de Ransbeck) (00:12:07) 

Éric Mulard - Métamorphose d’un départ)  Éric Mulard - Métamorphose d’un départ (00:09:33) 

Philippe Moënne-Loccoz - Stokhastês)  Philippe Moënne-Loccoz - Stokhastês (00:15:41) 
The Videodisc is a commercial flop.

John Estacio - The Point of No Return  John Estacio - The Point of No Return (00:10:57) 

Elliot E. Freedman - The Griffith Observer)  Elliot E. Freedman - The Griffith Observer (00:08:09) 

Cindy John - Death of an Insect)  Cindy John - Death of an Insect (00:04:39) 

Chris Wind - Rocks (3))  Chris Wind - Rocks (3) (00:01:48) 

James Meneses - A Man Who Saw Very Quickly)  James Meneses - A Man Who Saw Very Quickly (00:04:14) 

John Wiggins - Whirl Without End)  John Wiggins - Whirl Without End (00:10:41) 

Denis Saindon - Entropie, agglutination, genèse)  Denis Saindon - Entropie, agglutination, genèse (00:12:10) 

Elsa Justel - Ichihualasto (The Valley of the Moon)  Elsa Justel - Ichihualasto (The Valley of the Moon) (00:09:29) 
CD-ROMs. External hard drives allow the user to store digital data and files... Virtual reality. Generalized Internet access to the general public.

Personal micro-computers for work become commonplace.

The gradual disappearance of analogue equipment and instruments is balanced by their rapid reappropriation by musicians working in other scenes, such as pop and experimental genres, etc.

Michel Tétreault - Compost Sonore  Michel Tétreault - Compost Sonore (00:09:28) 

Frank Koustrup - Heather Laughs  Frank Koustrup - Heather Laughs (00:01:50) 

Emmanuel Madan - Caniapiscau  Emmanuel Madan - Caniapiscau (00:07:43) 

Claude Schryer - Voix de l’écologie  Claude Schryer - Voix de l’écologie (00:13:26) 
The birth (sometimes followed by an early death) of a plethora of new physical or virtual support formats such as the minidisk, MP3 and Internet.

The appearance of a great variety of hybridizations and multi- and cross-disciplinary projects increasingly dilutes the meaning of the word “electroacoustic”. 
Fondation du studio de la NHK (Radio nationale, Nippon Hoso Kyoku, 1955).

Fondation du studio de la radio polonaise (1958).

Fondation du « Siemens-Studio für elektronische Musik » (1960).

Fondation du Studio de musique expérimentale de la radio de Moscou.
Naissance officielle du GRM, y sont associés Pierre Schaeffer, Luc Ferrari, François-Bernard Mâche.

Fondation du Columbia-Princeton Electronic Music Center qui deviendra un lieu phare de la musique électronique et électroacoustique aux USA C’est là que travailleront, quelques années plus tard, des compositeurs importants comme Milton Babbitt et Ilhan Mimaroglu.
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  1984 1985 1986 1987 1988 1989 1990 1991 1992 1993  

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