title: Misanthropy

text: The major flaws pointed out by misanthropes include "intellectual flaws", "moral flaws" and "aesthetic flaws". "Intellectual flaws", like wishful thinking, dogmatism, stupidity and cognitive biases, are what leads to false beliefs, what obstructs knowledge, or what violates the demands of rationality. "Moral flaws", like cruelty, indifference to the suffering of others, selfishness and cowardice, are often identified with tendencies to promote what is bad or with inappropriate attitudes towards values. "Aesthetic flaws" concern ugliness and include ugly aspects of human life, ugliness caused by human activities, vulgarity and lack of sensitivity to beauty. Proponents of misanthropy often focus on moral flaws and provide various examples of their manifestations, like mass killings, factory farming of livestock and pollution of the environment. Opponents respond to this by pointing out that serious moral flaws are only manifested by a few mentally ill people or under extreme circumstances, which is denied by misanthropes. Another important consideration for arguments based on flaws is that they highlight only one side of humanity while evaluative attitudes should take all sides into account. Other arguments against misanthropy are based not on whether this attitude appropriately reflects the negative value of humanity but on the costs of accepting a position associated with hatred, for the individual and for society at large. Defenders have responded to this by showing how a misanthropic perspective can lead to various different forms of life. While some of them are based on hatred and may lead to violence, others focus more on fear and withdrawing oneself from the negative influence. Further alternatives include resignation and activism fueled by the hope of bringing about radical transformation.


title: Misanthropy

text: Misanthropy figures in various works of art and philosophy. It is closely related to but not identical with philosophical pessimism, which involves a negative attitude not just to humankind but to life as a whole. Misanthropic considerations have been used as an argument for antinatalism, the view that coming into existence is bad and that humans, therefore, have a duty to abstain from procreation.


title: Misanthropy

text: Misanthropy (a word of 17th century origin, from the Greek "misanthrōpos") is traditionally defined as hatred or distrust of humankind. But it has been argued in contemporary philosophy that this characterization does not fit all those labeled as misanthropes. On this view, a more encompassing definition sees misanthropy as a negative evaluation of humanity as a whole based on humankind's vices and flaws. This negative evaluation can express itself in various forms, hatred being only one of them. In this sense, misanthropy has a cognitive component: its negative attitude towards humanity is based on a negative judgment about humanity, it is not just a blind dislike.


title: Misanthropy

text: One important aspect of all forms of misanthropy is that their target is not local but ubiquitous. So the negative attitude is not just directed at some individual persons or groups of people but at humanity as a whole. This distinguishes misanthropes from groups like racists, misogynists and misandrists, which hold a negative attitude towards certain races or genders, respectively. So these forms of discrimination and intolerance are not general characteristics of misanthropes. Both misanthropes and their critics agree that negative features and failings are not equally distributed, i.e. that the vices and bad traits are exemplified much more strongly in some than in others. But misanthrope's negative assessment of humanity is not based on a few extreme and outstanding cases: it is a condemnation of humanity as a whole, including the more ordinary cases. Because of this focus on the ordinary, it is sometimes held that the flaws are obvious and open to see for everyone but due to intellectual flaws, people tend to ignore them or even praise them as virtues. Some see the flaws as part of human nature as such. Others also base their view on non-essential flaws, i.e. what humanity has come to be. This includes flaws seen as symptoms of modern civilization in general. Nevertheless, both groups agree that the relevant flaws are "entrenched": there is either no or no easy way to rectify them, nothing short of a complete transformation of the dominant way of life would be required, if that is possible at all.


title: Misanthropy

text: A core aspect of misanthropy is that its negative attitude towards humanity is based on human flaws. Various misanthropes have provided extensive lists of flaws, including cruelty, greed, selfishness, wastefulness, dogmatism, self-deception and insensitivity to beauty. These flaws can be categorized in various ways. Traditional religious texts tend to focus on "spiritual flaws", like impiety. But in the contemporary academic literature on the subject, the focus is more on "intellectual flaws", "moral flaws" and "aesthetic flaws". While all of these forms carry some weight for justifying a misanthropic perspective, it is often held that moral flaws are the most severe ones, for example, concerning human treatment of animals.


title: Misanthropy

text: "Intellectual flaws" concern our cognitive capacities. They can be defined as what leads to false beliefs, what obstructs knowledge or what violates the demands of rationality. They include "intellectual vices", like arrogance, wishful thinking, dogmatism, stupidity and gullibility, and cognitive biases, like the confirmation bias, the self-serving bias, the hindsight bias and the anchoring bias. Intellectual flaws can work in tandem with all kinds of vices: they may deceive someone about having a certain vice and thereby prevent him from addressing it and improving himself. A cruel person, for example, may convince himself motivated by wishful thinking that he is not being cruel but firm. Similar considerations have prompted some traditions to see intellectual failings, like ignorance, as the root of all evil.


title: Misanthropy

text: But the more common approach within the misanthropic literature is to locate humanity's most serious flaws on the moral level. "Moral vices" are often identified with tendencies to promote what is bad or with inappropriate attitudes towards values. They include cruelty, indifference to the suffering of others, selfishness, moral laziness, cowardice, injustice, greed and ingratitude. The harm done because of these vices can be divided into three categories: harm done directly to other humans, harm done directly to animals and harm done indirectly to both humans and animals by harming the environment. Examples for these categories include the Holocaust, factory farming of livestock, and pollution causing climate change, respectively.


title: Misanthropy

text: "Aesthetic flaws" are usually not given the same importance as moral and intellectual flaws, but they also carry some weight for misanthropic considerations. These flaws relate to beauty and ugliness. They concern ugly aspects of human life itself, like defecation and aging, ugliness caused by human activities, like pollution and litter, and inappropriate attitudes towards aesthetic aspects, like being insensitive to beauty.


title: Misanthropy

text: Various arguments for and against adopting a misanthropic perspective have been presented. Proponents usually focus on various forms of human flaws, like the ones discussed in the last section, together with examples for when they exercise their negative influences. Opponents often respond to such examples by pointing out that they are extreme individual manifestations of human flaws, either by mentally ill perpetrators or by normal people under extreme circumstances, that do not reflect on humanity at large and therefore are unable to justify the misanthropic attitude. So while there are cases of extreme human brutality, like the mass killings committed by dictators and their forces, listing such cases is not sufficient for condemning humanity at large. Misanthropes have responded to this type of argument in various ways. Some hold that the underlying flaws are there in everyone, even if they reach their most extreme form of manifestation only in a few. Others point out that many ordinary people are complicit in their manifestation, for example, by supporting the political leaders committing them, even if they did not directly commit them. Another approach is to focus not on the grand extreme cases but on the ordinary small-scale manifestations of human flaws, as in lying, cheating, breaking promises or being ungrateful.


title: Misanthropy

text: A different problem for arguments based on human flaws is that they present just one side of humanity while evaluative attitudes should take all sides into account. So it may be the case that despite having very serious vices, humans may also possess equally important virtues that make up for their shortcomings. While it is difficult to make such comparisons on a large scale, misanthropes have argued that at least for important subfields, like man's treatment of animals, the scales are clearly tipped against man.


title: Misanthropy

text: Some arguments against misanthropy are based not on whether this attitude appropriately reflects the negative value of humanity but on the costs of accepting such a position, for the individual and for society at large. This is especially relevant if misanthropy is associated with a hatred of humankind, which may turn easily into violence against social institutions and other humans and may result in a lot of harm. Concerning the misanthropic individual, it has been argued that misanthropy makes one miserable and friendless and thereby deprives us of most pleasures. Defenders have pointed out that misanthropy is not necessarily connected to hatred, violence and friendlessness, i.e. that there are various other misanthropic forms of life that avoid these arguments.


title: Misanthropy

text: While misanthropy is based on a negative judgment of humanity, it is not restricted to just a theoretical opinion. Instead, it involves an evaluative attitude that calls for a practical response. This is realized in different forms of life that come with different dominant emotions and various practical consequences for how to lead one's life. These responses to misanthropy are sometimes presented through simplified prototypes that may be too crude to accurately capture the mental life of any single person but instead aim to portrait common attitudes among groups of misanthropes. The two responses most commonly associated with misanthropy are destructive and fugitive. The "destructive misanthrope" is said to be driven by a hatred of humankind and aims at tearing it down, with violence if necessary. For the "fugitive misanthrope", fear is the dominant emotion and leads the misanthrope to seek a secluded place in order to avoid the corrupting contact with civilization and humanity as much as possible. The contemporary misanthropic literature has also identified two other less-known types of misanthropic lifestyles: the activist and the quietist response. The "activist misanthrope" is driven by hope despite their negative appraisal of humanity. This hope is based on the idea that it is possible and feasible for humanity to transform itself and the activist works actively towards this ideal. The "quietist misanthrope", on the other hand, takes a more pessimistic approach towards what the individual can do for bringing about this transformation. In contrast to the more radical reactions of the other responses mentioned, they are resigned to quiet acceptance and small-scale avoidance.


title: Misanthropy

text: Gustave Flaubert once declared that he would "die of suppressed rage at the folly of [his] fellow men." Misanthropy has also been ascribed to a number of writers of satire, such as William S. Gilbert ("I hate my fellow-man") and William Shakespeare ("Timon of Athens"). Jonathan Swift is widely believed to have been misanthropic (see "A Tale of a Tub" and, most especially, Book IV of "Gulliver's Travels"). Poet Philip Larkin has been described as a misanthrope.


title: Misanthropy

text: Molière's play "The Misanthrope" is one of the more famous plays on this topic. Less famous, but more contemporary is the 1971 play by Françoise Dorin, "Un sale égoïste" (A Filthy Egoist) which takes the point of view of the misanthrope and entices the viewer to understand his motives.


title: Misanthropy

text: With the effect of World War I, George Grosz's Lustmord themed works focused on misanthropy. Some scholars argue that these works are consequences of misogyny and sexual anxieties.


title: Misanthropy

text: The pre-Socratic philosopher Heraclitus was by various accounts a misanthrope and a loner who had little patience for human society. In a fragment, the philosopher complained that "people [were] forever without understanding" of what was, in his view, the nature of reality.


title: Misanthropy

text: In Western philosophy, misanthropy has been connected to isolation from human society. In Plato's "Phaedo", Socrates describes a misanthrope in relation to his fellow man: "Misanthropy develops when without art one puts complete trust in somebody thinking the man absolutely true and sound and reliable and then a little later "discovers" him to be bad and unreliable ... and when it happens to someone often ... he ends up ... hating everyone." Misanthropy, then, is presented as a potential result of thwarted expectations or even excessively naïve optimism, since Plato argues that "art" would have allowed the potential misanthrope to recognize that the majority of men are to be found in between good and evil. Aristotle follows a more ontological route: the misanthrope, as an essentially solitary man, is not a man at all: he must be a monster or a god, a view reflected in the Renaissance view of misanthropy as a "beast-like state".


title: Misanthropy

text: In the Judeo-Islamic philosophies (800–1400), the Jewish philosopher Saadia Gaon uses the Platonic idea that the self-isolated man is dehumanized by friendlessness to argue against the misanthropy of anchorite asceticism and reclusiveness.


title: Misanthropy

text: There is a difference between philosophical pessimism and misanthropy. Immanuel Kant said that "Of the crooked timber of humanity, no straight thing can ever be made", and yet this was not an expression of the uselessness of humankind itself. Kant further stated that hatred of humankind can take two distinctive forms: aversion from men (anthropophobia) and enmity towards them. The condition can arise partly from dislike and partly from ill-will.


title: Misanthropy

text: Martin Heidegger has also been said to show misanthropy in his concern of the "they"—the tendency of people to conform to one view, which no one has really thought through, but is just followed because "they say so". This might be thought of as more a criticism of conformity than of people in general. Unlike Schopenhauer, Heidegger was opposed to any systematic ethics; however, in some of his later thought, he does see the possibility of harmony between people, as part of the four-fold, mortals, gods, earth, and sky.


title: Misanthropy

text: Misanthropy is closely related to but not identical with philosophical pessimism. Philosophical pessimism is the view that life as a whole is not worth living or that the world in general is a bad place, for example, because it is meaningless and full of suffering. This view is perhaps best exemplified by Arthur Schopenhauer, or in its most extreme form, Philipp Mainländer. Philosophical pessimism is often accompanied by misanthropy by holding that humanity is also bad and maybe partially responsible for the badness of the world. But the two views do not entail each other and can be held separately. A non-misanthropic pessimist may hold, for example, that humans are just victims of a terrible world but not to blame for it. Eco-misanthropists, on the other hand, may claim that the world and its nature are valuable but for the negative, destructive influence of humanity.


title: Misanthropy

text: Antinatalism is the view that coming into existence is bad and that humans, therefore, have a duty to abstain from procreation. An important argument for anti-natalism is the misanthropic argument. It sees the deep flaws of humans and their tendency to cause harm both to other humans and to animals as a reason for avoiding to create more humans. These harms include wars, genocides, factory farming and damages done to the environment. This argument contrasts with philanthropic arguments, which focus on the future suffering of the human about to come into existence.


title: Misanthropy

text: Deep ecology is a philosophical and social movement that emphasizes the inherent value of nature and advocates a radical change in human behavior toward nature. Various theorists have criticized deep ecology based on the claim that it is misanthropic by privileging other species over humans. For example, in a newsletter by the deep ecology movement Earth First!, the AIDS epidemic in Africa was praised as a solution to the problem of human overpopulation.


title: Tim Blake Nelson

text: Described as a "modern character actor", his roles include Delmar O'Donnell in "O Brother, Where Art Thou?" (2000), Gideon in "Minority Report" (2002), Dr. Pendanski in "Holes" (2003), Danny Dalton Jr. in "Syriana" (2005), Samuel Sterns in the Marvel Cinematic Universe, Richard Schell in "Lincoln" (2012), the title character in "The Ballad of Buster Scruggs" (2018), and Henry McCarty in "Old Henry" (2021). He portrayed Wade Tillman / Looking Glass in the HBO limited series "Watchmen" (2019), for which he received a Critics' Choice Television Awards nomination for Best Supporting Actor in a Drama Series in 2020.


title: Tim Blake Nelson

text: Nelson's directorial credits include "Eye of God" (1997), which was nominated for the Sundance Grand Jury Prize and an Independent Spirit Award; "O" (2001), a modern-day adaptation of "Othello;" and the Holocaust drama "The Grey Zone" (2001). "Eye of God" and "The Grey Zone" were both adapted from Nelson's own plays.


title: Tim Blake Nelson

text: Nelson was born to a Jewish family in Tulsa, Oklahoma, the son of Ruth Nelson ("née" Kaiser), a noted Tulsa social activist and philanthropist, and Don Nelson, a geologist and wildcatter. His maternal uncle is businessman George Kaiser.


title: Tim Blake Nelson

text: His maternal grandparents Herman Geo. Kaiser and Kate Kaiser, daughter of businessman Max Samuel, were from Germany, and escaped the Nazis shortly before World War II. They moved to Britain in 1938, where Nelson's mother was born, and immigrated to the United States in 1941. His father's family were Russian-Jewish emigrants.


title: Tim Blake Nelson

text: Nelson attended the Oklahoma Summer Arts Institute at Quartz Mountain Resort Arts and Conference Center in Lone Wolf, Oklahoma.


title: Tim Blake Nelson

text: Nelson is a 1982 graduate of Holland Hall School in Tulsa, and a graduate of Brown University, where he was a classics major as well as senior orator for his class of 1986. At Brown, he studied under philosopher Martha Nussbaum. He is a member of the Phi Beta Kappa Society. He won the Workman/Driskoll award for excellence in classical studies. He graduated from Juilliard in 1990, a member of Group 19.


title: Tim Blake Nelson

text: Nelson's debut play, "Eye of God", was produced at Seattle Repertory Theatre in 1992. "The Grey Zone" premiered at MCC Theater in New York in 1996, where his 1998 work "Anadarko" was produced. He was a co-star of the sketch comedy show "The Unnaturals", which ran on HA! (later , and would turn into Comedy Central) between 1989 and 1991, alongside Paul Zaloom, John Mariano and Siobhan Fallon Hogan.


title: Tim Blake Nelson

text: Nelson has appeared as an actor in film, TV and theatre. He had a featured role as Delmar in the film "O Brother, Where Art Thou?" According to directors Joel and Ethan Coen, he was the only one in the cast or crew who had read Homer's "Odyssey", a story upon which the film is loosely based. He sang "In the Jailhouse Now" on the film's soundtrack (which received a Grammy for Album of the Year in 2002). He has had a number of supporting performances in feature films such as "Minority Report", "Syriana" and "Lincoln". He also appeared in Marvel Comics adaptations "The Incredible Hulk" and "Fantastic Four". He portrayed Ralph Myers in the drama/legal drama "Just Mercy" (2019).


title: Tim Blake Nelson

text: Nelson narrated the 2001 audiobook "At the Altar of Speed: The Fast Life and Tragic Death of Dale Earnhardt, Sr." He appeared on stage extensively off-Broadway in New York at theatres including Manhattan Theater Club, Playwrights Horizons, Manhattan Class Company, Soho Repertory Theater, New York Theater Workshop, and Central Park's Open Air Theater in the Shakespeare plays "Richard III", "Troilus and Cressida", and "A Midsummer Night's Dream".


title: Tim Blake Nelson

text: He has directed film versions of his plays "The Grey Zone" and "Eye of God" (for which he received an Independent Spirit Awards nomination for the Someone to Watch Award), and directed two of his original screenplays: "Kansas" (1998) and "Leaves of Grass" (2009). He directed the film "O", based on "Othello" and set in a modern-day high school.


title: Tim Blake Nelson

text: For "Eye of God", he received the Tokyo Bronze Prize at the Tokyo International Film Festival (1997) and the American Independent Award at the Seattle International Film Festival (1997); for "O", the Best Director Award at the Seattle International Film Festival (2001); and for "The Grey Zone", the National Board of Review's Freedom of Expression Award (2002). He is on the boards of directors of The Actors Center in New York City and the Soho Rep Theatre.


title: Tim Blake Nelson

text: Nelson guest-starred on the "" season 10 episode "Working Stiffs". In the episode "My Brother's Bomber" (aired September 29, 2015) of the PBS investigative series "Frontline", he talked about the loss of his friend David Dornstein in the 1988 bombing of Pan Am Flight 103 over Lockerbie, Scotland.


title: Tim Blake Nelson

text: In 2018, Nelson played the title character in "The Ballad of Buster Scruggs", a western anthology film by Joel and Ethan Coen, after receiving the original script 16 years prior, in 2002. The film was released on Netflix on November 16, after a limited theatrical run, and received positive reviews, with many highlighting Nelson's performance and his overall segment.


title: Tim Blake Nelson

text: Nelson's play "Socrates" opened at The Public Theater in 2019, starring Michael Stuhlbarg. It was favorably received by numerous publications, including the "New York Times."


title: Tim Blake Nelson

text: Nelson resides in New York City with his wife, Lisa Benavides, and their three sons. On May 8, 2009, he was inducted as an honorary member of the University of Tulsa's Beta of Oklahoma chapter of the Phi Beta Kappa national collegiate honor society.


title: Haikyu!!

text: An anime television series adaptation produced by Production I.G, aired on MBS from April 2014 to September 2014, with 25 episodes. A second season aired from October 2015 to March 2016, with 25 episodes. A third season aired from October 2016 to December 2016, with 10 episodes. A fourth season was announced during the Jump Festa '19 and was planned for release in two cours, the first cour of 13 episodes aired from January to April 2020, and the second cour of 12 episodes aired from October to December 2020. The anime film series titled "Haikyu!! Final", has been announced, which serves as the finale of the series.


title: Haikyu!!

text: In North America, the manga has been licensed by Viz Media, while the anime series has been licensed for digital and home release by Sentai Filmworks.


title: Haikyu!!

text: Both the manga and anime have been met with positive responses. In 2016, "Haikyu!!" won the 61st Shogakukan Manga Award for the "shōnen" category. As of August 2022, the manga had over 55 million copies in circulation, making it one of the best-selling manga series.


title: Haikyu!!

text: Junior high school student, Shoyo Hinata, becomes obsessed with volleyball after catching a glimpse of Karasuno High School playing in Nationals on TV. Of short stature himself, Hinata is inspired by a player the commentators nickname 'The Little Giant', Karasuno's short but talented wing spiker. Though inexperienced, Hinata is athletic and has an impressive vertical jump. He joins his school's volleyball club – only to find he is its sole member, forcing him to spend the next two years trying to convince other students to help him practice.


title: Haikyu!!

text: In the third and final year of junior high, some of Hinata's friends agree to join the club so he can compete in a tournament. In his first official game ever, they suffer a crushing defeat to the team favored to win the tournament – that included third-year Tobio Kageyama, a prodigy setter nicknamed 'The King of the Court' for both his skill and his brutal play style. The two spark a short rivalry, and after the game, Hinata vows to defeat Kageyama in high school.


title: Haikyu!!

text: Hinata studies and is accepted to Karasuno, the same high school the "Little Giant" played for, but is shocked to discover that Kageyama has also chosen to attend Karasuno. Karasuno is revealed to have lost its reputation as a powerhouse school following the era of the Little Giant, often being referred to as 'The Wingless Crows' by other local teams. However, by combining Kageyama's genius setting skills with Hinata's remarkable athleticism, the duo create an explosive new volleyball tactic and develop an unexpected but powerful setter-spiker partnership.


title: Haikyu!!

text: Along the way, Hinata and Kageyama push each other into reaching their full potential, and Hinata develops relationships with his first real team, thus beginning Karasuno's journey of redemption to restore their reputation and make it to the Nationals.


title: Haikyu!!

text: Both Hinata and Kageyama aspire to be professional volleyball players, and make a promise to one another after they graduate from high school that no matter what, they will both play on the same court again. They have a remarkable bond and devote their lives to each other and the sport of volleyball.


title: Haikyu!!

text: Written and illustrated by Haruichi Furudate, "Haikyu!!" was initially published as a one-shot in Shueisha's seasonal "Jump NEXT!" on January 8, 2011. A second one-shot was published in the "shōnen" manga magazine "Weekly Shōnen Jump" on April 25, 2011. "Haikyu!!" started its serialization in "Weekly Shōnen Jump" on February 20, 2012. In 2019, the manga entered its final arc. The series finished on July 20, 2020. Shueisha collected its chapters in 45 "tankōbon" volumes, released from June 4, 2012 to November 4, 2020.


title: Haikyu!!

text: At their panel at New York Comic Con, North American publisher Viz Media announced their license of the manga and released the series in 2016. Shueisha began to simulpublish the series in English on the website and app Manga Plus in January 2019.


title: Haikyu!!

text: A spin-off titled , illustrated by Kyōhei Miyajima, was released in Shueisha's "Shonen Jump+" website on May 13, 2019. Three volumes has been published so far. Volumes 2 and 3 were delayed from May 1 to May 13, 2020 due to COVID-19 concerns.


title: Haikyu!!

text: A radio drama for the series was broadcast in November 2012 on TV Tokyo's "Sakiyomi Jum-Bang!" program, with multiple voice actors providing voice samples for the characters. It was later distributed in December 2012 via Shueisha's "Vomic" website.


title: Haikyu!!

text: An anime television series produced by Production I.G aired from April 6 to September 21, 2014 on MBS, other JNN stations, and with English subtitles on Crunchyroll. From episodes 1-13, the opening theme song is "Imagination" by Spyair, while the ending theme song is "Tenchi Gaeshi" by Nico Touches the Walls. For episodes 14 through 25, the opening is "Ah Yeah" by Sukima Switch, and the ending is "LEO" by Tacica. "Ah Yeah" is also used as the ending for episode 14, which has no opening. The anime has been licensed for digital and home video release by Sentai Filmworks.


title: Haikyu!!

text: A second season aired from October 4, 2015 to March 27, 2016. For episodes 1 through 13, the opening theme song is "I'm a Believer" by Spyair, while the ending theme song is "Climber" by Galileo Galilei. For episodes 14 through 25, the opening theme song is "FLY HIGH" by Burnout Syndromes, while the ending theme song is by Tacica.


title: Haikyu!!

text: A third season, titled , aired from October 8 to December 10, 2016. The opening theme song is "Hikariare" by Burnout Syndromes, while the ending theme song is "Mashi Mashi" by Nico Touches the Walls. Sentai Filmworks has also licensed the third season.


title: Haikyu!!

text: A fourth season, titled , was announced at the Jump Festa '19 event, with a "kickoff event" for the new series being held on September 22, 2019. The fourth season premiered on January 11, 2020 on the Super Animeism block. The opening theme is "Phoenix" by Burnout Syndromes and the ending theme is "Kessen Spirit" by CHiCO with HoneyWorks. It ran for 25 episodes, with the first cour running weekly from January 11, 2020 to April 4, 2020; the second cour was set to return in July 2020 but was delayed due to the COVID-19 pandemic. The second cour aired from October 3 to December 19, 2020. The opening theme is "Toppakō" by Super Beaver and the ending theme is "One Day" by Spyair. Crunchyroll simulcasted the fourth season.


title: Haikyu!!

text: Four original video animations (OVA) episodes have been released. OVA 1: "The Arrival of Haiba Lev" was released on November 9, 2014, while OVA 2: "VS Failing Grades" was released on May 2, 2016. Two more OVA episodes, OVA 3: "Land vs. Sky" and OVA 4: "The Path of the Ball", adapted the Tokyo Nationals qualifiers story arc from the manga series, and were released on January 22, 2020.


title: Haikyu!!

text: Supplementary compilation films have been released following the airing of the anime. After the first season and before the second season was aired in 2015, two compilation films were released. The first movie, "Gekijō-ban Haikyu!! Owari to Hajimari (Haikyu!! the Movie: Ending and Beginning)" was released on July 3, 2015 and the second movie, "Gekijō-ban Haikyu!! Shōsha to Haisha (Haikyu!! the Movie: Winners and Losers)" premiered on September 18, 2015. Two more compilation films were announced after the third season, in March 2017. Both films were released in September: the first film, "Haikyu!! Sainō to Sense (Haikyu!! Genius and Sense)" on the 15th and the second film, "Haikyu!! Concept no Tatakai (Haikyu!! Battle of Concepts)" on the 29th.


title: Haikyu!!

text: On August 13, 2022, two "Haikyu!! Final" anime films were announced, serving as the finale of the series.


title: Haikyu!!

text: "Haikyu!! Tsunage! Itadaki no Keshiki" was released on the Nintendo 3DS in Japan on September 25, 2014. "Haikyu!! Cross Team Match" was released on the Nintendo 3DS in Japan on March 3, 2016. Shoyo appears as a support character in the "Jump" crossover fighting game "J-Stars Victory VS" for PlayStation 3, PlayStation 4 and PlayStation Vita.


title: Haikyu!!

text: A series of stage plays titled "", directed by Worry Kinoshita, began running in 2015, starring Kenta Suga as Hinata.


title: Haikyu!!

text: "Haikyu!!" received the 61st Shogakukan Manga Award for the "shōnen" category in 2016. Additionally, the series ranked 4th out of a total of fifteen comics recommended in Honya Club's "Zenkoku Shoten'in ga Eranda Osusume Comic 2013" ranking. On TV Asahi's Manga Sōsenkyo 2021 poll, in which 150.000 people voted for their top 100 manga series, "Haikyu!!" ranked #8.


title: Haikyu!!

text: As of December 2016, the series had over 20 million copies in circulation. As of January 2018, the manga had over 28 million copies in circulation. As of December 2018, the manga had over 33 million copies in circulation. As of December 2019, the manga had over 35 million copies in circulation. As of May 2020, the manga had over 38 million copies in circulation. As of August 2020, the manga had over 40 million copies in circulation. As of November 2020, the manga had over 50 million copies in circulation. As of August 2022, the manga had over 55 million copies in circulation.


title: Haikyu!!

text: In Japan, the series was the 6th best-selling manga in 2015, and the 8th best in 2019. "Haikyu!!" was the 4th best-selling manga series in 2020, with 7,212,099 copies sold. The first volume ranked 22nd on the Tohan charts between June 4 and 10, 2012. The second volume ranked 18th on the charts between August 6 and 12, 2012, and the third volume was also ranked 18th between October 8 and 14, 2012. In December 2016, the 24th volume topped Oricon's Top 10 Weekly Sales chart, selling 282,363 copies in its first three days. During the week of May 11 and May 17, 2020, "Haikyu!!" was the 2nd best selling manga on Oricon's Top 10 Weekly Chart, selling 473 858 copies in a week and ranking only below "".


title: Haikyu!!

text: Leroy Douresseaux of "Comic Book Bin" praised the story for its in-depth examination of personal and mental struggles in addition to athletic struggles, noting its prominent focus on character drama and team dynamics outside of volleyball.


title: Haikyu!!

text: In November 2019, "Polygon" named "Haikyu!!" one of the best anime of the 2010s, and "Crunchyroll" listed it in their "Top 100 best anime of the 2010s". IGN also listed "Haikyu!!" among the best anime series of the 2010s, and nominated it for Best Anime Series of 2016. According to "Crunchyroll", "Haikyu!!" was one of the top 10 streamed anime in the UK, Canada, Oceania, Mexico, and Brazil on their streaming service during the winter 2020 anime season.


title: Haikyu!!

text: The anime was chosen as the favorite sports series in the Funimation 'Decade of Anime' fan polls, where they vote for the favorite anime series through decade in various genres. On Tumblr's 2020 Year in Review, which highlights the largest communities, fandoms, and trends on the platform throughout the year, "Haikyu!!" ranked 2nd on the Top Anime & Manga Shows category, only behind "My Hero Academia". At the 5th Crunchyroll Anime Awards, Shoyo Hinata was awarded "Best Boy" while he was nominated for "Best Protagonist". The fourth season's opening theme, "Phoenix" by Burnout Syndromes, was nominated for "Best Opening Sequence".


title: Haikyu!!

text: Kim Yeon-kyoung, captain of the South Korean National Women's Volleyball team, reacted to and analyzed Karasuno's final rally against Aoba Johsai in season 2, expressing that while a few moments were exaggerated and impossible to do in real life, she was pleasantly surprised by its portrayal of high-level volleyball and thought it was "fun to watch". She noted that the creator "is a person with a high level of volleyball knowledge".


title: Haikyu!!

text: Melina Dargis of "The Fandom Post" praised its development of a team mentality with multiple characters rather than individuals, serving to emphasize that volleyball "... is not an individual event, but a team sport". Noelle Ogawa of "Crunchyroll" praised it for its portrayal of personal growth, emphasizing its dependence on having the "right people and the right environment to bloom in." Rebecca Silverman of Anime News Network commented on the development of non-players like Karasuno's team manager, Kiyoko, stating that "her triumphant jump as she brings Hinata his lost sneakers is a beautiful statement of the fact that she's just as much a part of the team as any of the boys". Silverman also comments on the anime's attention to detail, noting the inclusion of deep breaths in, the movement of muscles in player's legs, and point of view shots that follow the ball during rallies. Isaac Ackers applauded the anime for its creation of intensity without having to use the speed of real-life sports, noting that it "[tightens] its focus on individual moments, making each point a peak and each second leading up to those peaks essential. Instead of speeding up, it slows down. It hangs on specific plays, stretches out the time the volleyball is in the air, emphasizes the moments in between. It’s simple, but it’s sublimely effective."


title: Haikyu!!

text: Rafael Motamayor of Slash Film commended the anime, stating that "the best part of Haikyu!! is the way the show integrates relationships and character stories into the actual sport", noting that "what may look like a simple toss suddenly turns into a vital lesson in building trust with your teammates, and the planning and staging of a spike also means addressing and confronting years of self-hatred and doubts". He also complimented the combination of Production I.G's fluid animation and Yuki Hayashi's soundtrack, which "[elevate] a simple game into an operatic duel of fates", with "visual metaphors that [turn] every pass into a battle". Guillermo Kurten of "Comic Book Resources" praised "Haikyu!!" for its outstanding characterization and for its execution of an entertaining story, even for those who do not enjoy sports or have no volleyball knowledge. K. Thor Jensen of "Mashable" listed it on his list of the best sports anime.


title: Electronic music

text: Electronic music is a genre of music that employs electronic musical instruments, digital instruments, or circuitry-based music technology in its creation. It includes both music made using electronic and electromechanical means (electroacoustic music). Pure electronic instruments depended entirely on circuitry-based sound generation, for instance using devices such as an electronic oscillator, theremin, or synthesizer. Electromechanical instruments can have mechanical parts such as strings, hammers, and electric elements including magnetic pickups, power amplifiers and loudspeakers. Such electromechanical devices include the telharmonium, Hammond organ, electric piano and the electric guitar.


title: Electronic music

text: The first electronic musical devices were developed at the end of the 19th century. During the 1920s and 1930s, some electronic instruments were introduced and the first compositions featuring them were written. By the 1940s, magnetic audio tape allowed musicians to tape sounds and then modify them by changing the tape speed or direction, leading to the development of electroacoustic tape music in the 1940s, in Egypt and France. Musique concrète, created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds. Music produced solely from electronic generators was first produced in Germany in 1953. Electronic music was also created in Japan and the United States beginning in the 1950s and Algorithmic composition with computers was first demonstrated in the same decade.


title: Electronic music

text: During the 1960s, digital computer music was pioneered, innovation in live electronics took place, and Japanese electronic musical instruments began to influence the music industry. In the early 1970s, Moog synthesizers and Japanese drum machines helped popularize synthesized electronic music. The 1970s also saw electronic music begin to have a significant influence on popular music, with the adoption of polyphonic synthesizers, electronic drums, drum machines, and turntables, through the emergence of genres such as disco, krautrock, new wave, synth-pop, hip hop, and EDM. In the early 1980s mass-produced digital synthesizers, such as the Yamaha DX7, became popular, and MIDI (Musical Instrument Digital Interface) was developed. In the same decade, with a greater reliance on synthesizers and the adoption of programmable drum machines, electronic popular music came to the fore. During the 1990s, with the proliferation of increasingly affordable music technology, electronic music production became an established part of popular culture. In Berlin starting in 1989, the Love Parade became the largest street party with over 1 million visitors, inspiring other such popular celebrations of electronic music.


title: Electronic music

text: Contemporary electronic music includes many varieties and ranges from experimental art music to popular forms such as electronic dance music. Pop electronic music is most recognizable in its 4/4 form and more connected with the mainstream than preceding forms which were popular in niche markets.


title: Electronic music

text: At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments. These initial inventions were not sold, but were instead used in demonstrations and public performances. The audiences were presented with reproductions of existing music instead of new compositions for the instruments. While some were considered novelties and produced simple tones, the Telharmonium synthesized the sound of several orchestral instruments with reasonable precision. It achieved viable public interest and made commercial progress into streaming music through telephone networks.


title: Electronic music

text: Critics of musical conventions at the time saw promise in these developments. Ferruccio Busoni encouraged the composition of microtonal music allowed for by electronic instruments. He predicted the use of machines in future music, writing the influential "Sketch of a New Esthetic of Music" (1907). Futurists such as Francesco Balilla Pratella and Luigi Russolo began composing music with acoustic noise to evoke the sound of machinery. They predicted expansions in timbre allowed for by electronics in the influential manifesto "The Art of Noises" (1913).


title: Electronic music

text: Developments of the vacuum tube led to electronic instruments that were smaller, amplified, and more practical for performance. In particular, the theremin, ondes Martenot and trautonium were commercially produced by the early 1930s.


title: Electronic music

text: From the late 1920s, the increased practicality of electronic instruments influenced composers such as Joseph Schillinger to adopt them. They were typically used within orchestras, and most composers wrote parts for the theremin that could otherwise be performed with string instruments.


title: Electronic music

text: Avant-garde composers criticized the predominant use of electronic instruments for conventional purposes. The instruments offered expansions in pitch resources that were exploited by advocates of microtonal music such as Charles Ives, Dimitrios Levidis, Olivier Messiaen and Edgard Varèse. Further, Percy Grainger used the theremin to abandon fixed tonation entirely, while Russian composers such as Gavriil Popov treated it as a source of noise in otherwise-acoustic noise music.


title: Electronic music

text: Developments in early recording technology paralleled that of electronic instruments. The first means of recording and reproducing audio was invented in the late 19th century with the mechanical phonograph. Record players became a common household item, and by the 1920s composers were using them to play short recordings in performances.


title: Electronic music

text: The introduction of electrical recording in 1925 was followed by increased experimentation with record players. Paul Hindemith and Ernst Toch composed several pieces in 1930 by layering recordings of instruments and vocals at adjusted speeds. Influenced by these techniques, John Cage composed "Imaginary Landscape No. 1" in 1939 by adjusting the speeds of recorded tones.


title: Electronic music

text: Composers began to experiment with newly developed sound-on-film technology. Recordings could be spliced together to create sound collages, such as those by Tristan Tzara, Kurt Schwitters, Filippo Tommaso Marinetti, Walter Ruttmann and Dziga Vertov. Further, the technology allowed sound to be graphically created and modified. These techniques were used to compose soundtracks for several films in Germany and Russia, in addition to the popular "Dr. Jekyll and Mr. Hyde" in the United States. Experiments with graphical sound were continued by Norman McLaren from the late 1930s.


title: Electronic music

text: The first practical audio tape recorder was unveiled in 1935. Improvements to the technology were made using the AC biasing technique, which significantly improved recording fidelity. As early as 1942, test recordings were being made in stereo. Although these developments were initially confined to Germany, recorders and tapes were brought to the United States following the end of World War II. These were the basis for the first commercially produced tape recorder in 1948.


title: Electronic music

text: In 1944, before the use of magnetic tape for compositional purposes, Egyptian composer Halim El-Dabh, while still a student in Cairo, used a cumbersome wire recorder to record sounds of an ancient "zaar" ceremony. Using facilities at the Middle East Radio studios El-Dabh processed the recorded material using reverberation, echo, voltage controls and re-recording. What resulted is believed to be the earliest tape music composition. The resulting work was entitled "The Expression of Zaar" and it was presented in 1944 at an art gallery event in Cairo. While his initial experiments in tape-based composition were not widely known outside of Egypt at the time, El-Dabh is also known for his later work in electronic music at the Columbia-Princeton Electronic Music Center in the late 1950s.


title: Electronic music

text: Following his work with Studio d'Essai at Radiodiffusion Française (RDF), during the early 1940s, Pierre Schaeffer is credited with originating the theory and practice of musique concrète. In the late 1940s, experiments in sound-based composition using shellac record players were first conducted by Schaeffer. In 1950, the techniques of musique concrete were expanded when magnetic tape machines were used to explore sound manipulation practices such as speed variation (pitch shift) and tape splicing.


title: Electronic music

text: On 5 October 1948, RDF broadcast Schaeffer's "Etude aux chemins de fer". This was the first "movement" of "Cinq études de bruits", and marked the beginning of studio realizations and musique concrète (or acousmatic art). Schaeffer employed a disc cutting lathe, four turntables, a four-channel mixer, filters, an echo chamber, and a mobile recording unit. Not long after this, Pierre Henry began collaborating with Schaeffer, a partnership that would have profound and lasting effects on the direction of electronic music. Another associate of Schaeffer, Edgard Varèse, began work on "Déserts", a work for chamber orchestra and tape. The tape parts were created at Pierre Schaeffer's studio and were later revised at Columbia University.


title: Electronic music

text: In 1950, Schaeffer gave the first public (non-broadcast) concert of musique concrète at the École Normale de Musique de Paris. "Schaeffer used a PA system, several turntables, and mixers. The performance did not go well, as creating live montages with turntables had never been done before." Later that same year, Pierre Henry collaborated with Schaeffer on "Symphonie pour un homme seul" (1950) the first major work of musique concrete. In Paris in 1951, in what was to become an important worldwide trend, RTF established the first studio for the production of electronic music. Also in 1951, Schaeffer and Henry produced an opera, "Orpheus", for concrete sounds and voices.


title: Electronic music

text: By 1951 the work of Schaeffer, composer-percussionist Pierre Henry, and sound engineer Jacques Poullin had received official recognition and The Groupe de Recherches de Musique Concrète, Club d 'Essai de la Radiodiffusion-Télévision Française was established at RTF in Paris, the ancestor of the ORTF.


title: Electronic music

text: Karlheinz Stockhausen worked briefly in Schaeffer's studio in 1952, and afterward for many years at the WDR Cologne's Studio for Electronic Music.


title: Electronic music

text: 1954 saw the advent of what would now be considered authentic electric plus acoustic compositions—acoustic instrumentation augmented/accompanied by recordings of manipulated or electronically generated sound. Three major works were premiered that year: Varèse's "Déserts", for chamber ensemble and tape sounds, and two works by Otto Luening and Vladimir Ussachevsky: "Rhapsodic Variations for the Louisville Symphony" and "A Poem in Cycles and Bells", both for orchestra and tape. Because he had been working at Schaeffer's studio, the tape part for Varèse's work contains much more concrete sounds than electronic. "A group made up of wind instruments, percussion and piano alternate with the mutated sounds of factory noises and ship sirens and motors, coming from two loudspeakers."


title: Electronic music

text: At the German premiere of "Déserts" in Hamburg, which was conducted by Bruno Maderna, the tape controls were operated by Karlheinz Stockhausen. The title "Déserts" suggested to Varèse not only "all physical deserts (of sand, sea, snow, of outer space, of empty streets), but also the deserts in the mind of man; not only those stripped aspects of nature that suggest bareness, aloofness, timelessness, but also that remote inner space no telescope can reach, where man is alone, a world of mystery and essential loneliness."


title: Electronic music

text: In Cologne, what would become the most famous electronic music studio in the world, was officially opened at the radio studios of the NWDR in 1953, though it had been in the planning stages as early as 1950 and early compositions were made and broadcast in 1951. The brainchild of Werner Meyer-Eppler, Robert Beyer, and Herbert Eimert (who became its first director), the studio was soon joined by Karlheinz Stockhausen and Gottfried Michael Koenig. In his 1949 thesis "Elektronische Klangerzeugung: Elektronische Musik und Synthetische Sprache", Meyer-Eppler conceived the idea to synthesize music entirely from electronically produced signals; in this way, "elektronische Musik" was sharply differentiated from French "musique concrète", which used sounds recorded from acoustical sources.


title: Electronic music

text: In 1953, Stockhausen composed his "Studie I", followed in 1954 by "Elektronische Studie II"—the first electronic piece to be published as a score. In 1955, more experimental and electronic studios began to appear. Notable were the creation of the Studio di fonologia musicale di Radio Milano, a studio at the NHK in Tokyo founded by Toshiro Mayuzumi, and the Philips studio at Eindhoven, the Netherlands, which moved to the University of Utrecht as the Institute of Sonology in 1960.


title: Electronic music

text: "With Stockhausen and Mauricio Kagel in residence, [Cologne] became a year-round hive of charismatic avante-gardism." on two occasions combining electronically generated sounds with relatively conventional orchestras—in "Mixtur" (1964) and "Hymnen, dritte Region mit Orchester" (1967). Stockhausen stated that his listeners had told him his electronic music gave them an experience of "outer space", sensations of flying, or being in a "fantastic dream world".


title: Electronic music

text: The earliest group of electronic musical instruments in Japan, Yamaha Magna Organ was built in 1935. however, after World War II, Japanese composers such as Minao Shibata knew of the development of electronic musical instruments. By the late 1940s, Japanese composers began experimenting with electronic music and institutional sponsorship enabled them to experiment with advanced equipment. Their infusion of Asian music into the emerging genre would eventually support Japan's popularity in the development of music technology several decades later.


title: Electronic music

text: Following the foundation of electronics company Sony in 1946, composers Toru Takemitsu and Minao Shibata independently explored possible uses for electronic technology to produce music. Takemitsu had ideas similar to musique concrète, which he was unaware of, while Shibata foresaw the development of synthesizers and predicted a drastic change in music. Sony began producing popular magnetic tape recorders for government and public use.


title: Electronic music

text: The avant-garde collective Jikken Kōbō (Experimental Workshop), founded in 1950, was offered access to emerging audio technology by Sony. The company hired Toru Takemitsu to demonstrate their tape recorders with compositions and performances of electronic tape music. The first electronic tape pieces by the group were "Toraware no Onna" ("Imprisoned Woman") and "Piece B", composed in 1951 by Kuniharu Akiyama. Many of the electroacoustic tape pieces they produced were used as incidental music for radio, film, and theatre. They also held concerts employing a slide show synchronized with a recorded soundtrack. Composers outside of the Jikken Kōbō, such as Yasushi Akutagawa, Saburo Tominaga, and Shirō Fukai, were also experimenting with radiophonic tape music between 1952 and 1953.


title: Electronic music

text: Musique concrète was introduced to Japan by Toshiro Mayuzumi, who was influenced by a Pierre Schaeffer concert. From 1952, he composed tape music pieces for a comedy film, a radio broadcast, and a radio drama. However, Schaeffer's concept of "sound object" was not influential among Japanese composers, who were mainly interested in overcoming the restrictions of human performance. This led to several Japanese electroacoustic musicians making use of serialism and twelve-tone techniques, evident in Yoshirō Irino's 1951 dodecaphonic piece "Concerto da


title: Electronic music

text: Camera", in the organization of electronic sounds in Mayuzumi's "X, Y, Z for Musique Concrète", and later in Shibata's electronic music by 1956.


title: Electronic music

text: Modelling the NWDR studio in Cologne, established an NHK electronic music studio in Tokyo in 1954, which became one of the world's leading electronic music facilities.The NHK electronic music studio was equipped with technologies such as tone-generating and audio processing equipment, recording and radiophonic equipment, ondes Martenot, Monochord and Melochord, sine-wave oscillators, tape recorders, ring modulators, band-pass filters, and four- and eight-channel mixers. Musicians associated with the studio included Toshiro Mayuzumi, Minao Shibata, Joji Yuasa, Toshi Ichiyanagi, and Toru Takemitsu. The studio's first electronic compositions were completed in 1955, including Mayuzumi's five-minute pieces "Studie I: Music for Sine Wave by Proportion of Prime Number", "Music for Modulated Wave by Proportion of Prime Number" and "Invention for Square Wave and Sawtooth Wave" produced using the studio's various tone-generating capabilities, and Shibata's 20-minute stereo piece "Musique Concrète for Stereophonic Broadcast".


title: Electronic music

text: 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. "Williams Mix" was a success at the Donaueschingen Festival, where it made a "strong impression".


title: Electronic music

text: The Music for Magnetic Tape Project was formed by members of the New York School (John Cage, Earle Brown, Christian Wolff, David Tudor, and Morton Feldman), 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."


title: Electronic music

text: Cage completed "Williams Mix" in 1953 while working with the Music for Magnetic Tape Project. 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.


title: Electronic music

text: In the same year Columbia University purchased its first tape recorder—a professional Ampex machine—to record concerts. Vladimir Ussachevsky, who was on the music faculty of Columbia University, was placed in charge of the device, and almost immediately began experimenting with it.


title: Electronic music

text: Herbert Russcol writes: "Soon he was intrigued with the new sonorities he could achieve by recording musical instruments and then superimposing them on one another." Ussachevsky said later: "I suddenly realized that the tape recorder could be treated as an instrument of sound transformation." On Thursday, 8 May 1952, Ussachevsky presented several demonstrations of tape music/effects that he created at his Composers Forum, in the McMillin Theatre at Columbia University. These included "Transposition, Reverberation, Experiment, Composition", and "Underwater Valse". In an interview, he stated: "I presented a few examples of my discovery in a public concert in New York together with other compositions I had written for conventional instruments."


title: Electronic music

text: Otto Luening, who had attended this concert, remarked: "The equipment at his disposal consisted of an Ampex tape recorder . . . and a simple box-like device designed by the brilliant young engineer, Peter Mauzey, to create feedback, a form of mechanical reverberation. Other equipment was borrowed or purchased with personal funds."


title: Electronic music

text: Just three months later, in August 1952, Ussachevsky traveled to Bennington, Vermont, at Luening's invitation to present his experiments. There, the two collaborated on various pieces. Luening described the event: "Equipped with earphones and a flute, I began developing my first tape-recorder composition. Both of us were fluent improvisors and the medium fired our imaginations." They played some early pieces informally at a party, where "a number of composers almost solemnly congratulated us saying, 'This is it' ('it' meaning the music of the future)."


title: Electronic music

text: Word quickly reached New York City. Oliver Daniel telephoned and invited the pair to "produce a group of short compositions for the October concert sponsored by the American Composers Alliance and Broadcast Music, Inc., under the direction of Leopold Stokowski at the Museum of Modern Art in New York. After some hesitation, we agreed. . . . Henry Cowell placed his home and studio in Woodstock, New York, at our disposal. With the borrowed equipment in the back of Ussachevsky's car, we left Bennington for Woodstock and stayed two weeks. . . . In late September 1952, the travelling laboratory reached Ussachevsky's living room in New York, where we eventually completed the compositions."


title: Electronic music

text: Two months later, on 28 October, Vladimir Ussachevsky and Otto Luening presented the first Tape Music concert in the United States. The concert included Luening's "Fantasy in Space" (1952)—"an impressionistic virtuoso piece" using manipulated recordings of flute—and "Low Speed" (1952), an "exotic composition that took the flute far below its natural range." Both pieces were created at the home of Henry Cowell in Woodstock, New York. After several concerts caused a sensation in New York City, Ussachevsky and Luening were invited onto a live broadcast of NBC's Today Show to do an interview demonstration—the first televised electroacoustic performance. Luening described the event: "I improvised some [flute] sequences for the tape recorder. Ussachevsky then and there put them through electronic transformations."


title: Electronic music

text: The score for "Forbidden Planet", by Louis and Bebe Barron, was entirely composed using custom-built electronic circuits and tape recorders in 1956 (but no synthesizers in the modern sense of the word).


title: Electronic music

text: The world's first computer to play music was CSIRAC, which was designed and built by Trevor Pearcey and Maston Beard. Mathematician Geoff Hill programmed the CSIRAC to play popular musical melodies from the very early 1950s. In 1951 it publicly played the Colonel Bogey March, of which no known recordings exist, only the accurate reconstruction. However, CSIRAC played standard repertoire and was not used to extend musical thinking or composition practice. CSIRAC was never recorded, but the music played was accurately reconstructed. The oldest known recordings of computer-generated music were played by the Ferranti Mark 1 computer, a commercial version of the Baby Machine from the University of Manchester in the autumn of 1951. The music program was written by Christopher Strachey.


title: Electronic music

text: The impact of computers continued in 1956. Lejaren Hiller and Leonard Isaacson composed "Illiac Suite" for string quartet, the first complete work of computer-assisted composition using algorithmic composition. "... Hiller postulated that a computer could be taught the rules of a particular style and then called on to compose accordingly." Later developments included the work of Max Mathews at Bell Laboratories, who developed the influential MUSIC I program in 1957, one of the first computer programs to play electronic music. Vocoder technology was also a major development in this early era. In 1956, Stockhausen composed "Gesang der Jünglinge", the first major work of the Cologne studio, based on a text from the "Book of Daniel". An important technological development of that year was the invention of the Clavivox synthesizer by Raymond Scott with subassembly by Robert Moog.


title: Electronic music

text: In 1957, Kid Baltan (Dick Raaymakers) and Tom Dissevelt released their debut album, "Song Of The Second Moon", recorded at the Philips studio in the Netherlands. The public remained interested in the new sounds being created around the world, as can be deduced by the inclusion of Varèse's "Poème électronique", which was played over four hundred loudspeakers at the Philips Pavilion of the 1958 Brussels World Fair. That same year, Mauricio Kagel, an Argentine composer, composed "Transición II". The work was realized at the WDR studio in Cologne. Two musicians performed on the piano, one in the traditional manner, the other playing on the strings, frame, and case. Two other performers used tape to unite the presentation of live sounds with the future of prerecorded materials from later on and its past of recordings made earlier in the performance.


title: Electronic music

text: In 1958, Columbia-Princeton developed the RCA Mark II Sound Synthesizer, the first programmable synthesizer. Prominent composers such as Vladimir Ussachevsky, Otto Luening, Milton Babbitt, Charles Wuorinen, Halim El-Dabh, Bülent Arel and Mario Davidovsky used the RCA Synthesizer extensively in various compositions. One of the most influential composers associated with the early years of the studio was Egypt's Halim El-Dabh who, after having developed the earliest known electronic tape music in 1944, became more famous for "Leiyla and the Poet", a 1959 series of electronic compositions that stood out for its immersion and seamless fusion of electronic and folk music, in contrast to the more mathematical approach used by serial composers of the time such as Babbitt. El-Dabh's "Leiyla and the Poet", released as part of the album "Columbia-Princeton Electronic Music Center" in 1961, would be cited as a strong influence by a number of musicians, ranging from Neil Rolnick, Charles Amirkhanian and Alice Shields to rock musicians Frank Zappa and The West Coast Pop Art Experimental Band.


title: Electronic music

text: Following the emergence of differences within the GRMC (Groupe de Recherche de Musique Concrète) Pierre Henry, Philippe Arthuys, and several of their colleagues, resigned in April 1958. Schaeffer created a new collective, called Groupe de Recherches Musicales (GRM) and set about recruiting new members including Luc Ferrari, Beatriz Ferreyra, François-Bernard Mâche, Iannis Xenakis, Bernard Parmegiani, and Mireille Chamass-Kyrou. Later arrivals included Ivo Malec, Philippe Carson, Romuald Vandelle, Edgardo Canton and François Bayle.


title: Electronic music

text: These were fertile years for electronic music—not just for academia, but for independent artists as synthesizer technology became more accessible. By this time, a strong community of composers and musicians working with new sounds and instruments was established and growing. 1960 witnessed the composition of Luening's "Gargoyles" for violin and tape as well as the premiere of Stockhausen's "Kontakte" for electronic sounds, piano, and percussion. This piece existed in two versions—one for 4-channel tape, and the other for tape with human performers. "In "Kontakte", Stockhausen abandoned traditional musical form based on linear development and dramatic climax. This new approach, which he termed 'moment form', resembles the 'cinematic splice' techniques in early twentieth-century film."


title: Electronic music

text: The theremin had been in use since the 1920s but it attained a degree of popular recognition through its use in science-fiction film soundtrack music in the 1950s (e.g., Bernard Herrmann's classic score for "The Day the Earth Stood Still").


title: Electronic music

text: In the UK in this period, the BBC Radiophonic Workshop (established in 1958) came to prominence, thanks in large measure to their work on the BBC science-fiction series "Doctor Who". One of the most influential British electronic artists in this period was Workshop staffer Delia Derbyshire, who is now famous for her 1963 electronic realisation of the iconic "Doctor Who" theme, composed by Ron Grainer.


title: Electronic music

text: During the time of the UNESCO fellowship for studies in electronic music (1958) Josef Tal went on a study tour in the US and Canada. He summarized his conclusions in two articles that he submitted to UNESCO. In 1961, he established the "Centre for Electronic Music in Israel" at The Hebrew University of Jerusalem. In 1962, Hugh Le Caine arrived in Jerusalem to install his "Creative Tape Recorder" in the centre. In the 1990s Tal conducted, together with Dr. Shlomo Markel, in cooperation with the Technion – Israel Institute of Technology, and the Volkswagen Foundation a research project ('Talmark') aimed at the development of a novel musical notation system for electronic music.


title: Electronic music

text: Milton Babbitt composed his first electronic work using the synthesizer—his "Composition for Synthesizer" (1961)—which he created using the RCA synthesizer at the Columbia-Princeton Electronic Music Center.


title: Electronic music

text: The collaborations also occurred across oceans and continents. In 1961, Ussachevsky invited Varèse to the Columbia-Princeton Studio (CPEMC). Upon arrival, Varese embarked upon a revision of "Déserts". He was assisted by Mario Davidovsky and Bülent Arel.


title: Electronic music

text: The intense activity occurring at CPEMC and elsewhere inspired the establishment of the San Francisco Tape Music Center in 1963 by Morton Subotnick, with additional members Pauline Oliveros, Ramon Sender, Anthony Martin, and Terry Riley.


title: Electronic music

text: Later, the Center moved to Mills College, directed by Pauline Oliveros, where it is today known as the Center for Contemporary Music. Pietro Grossi was an Italian pioneer of computer composition and tape music, who first experimented with electronic techniques in the early sixties. Grossi was a cellist and composer, born in Venice in 1917. He founded the S 2F M (Studio de Fonologia Musicale di Firenze) in 1963 to experiment with electronic sound and composition.


title: Electronic music

text: Simultaneously in San Francisco, composer Stan Shaff and equipment designer Doug McEachern, presented the first "Audium" concert at San Francisco State College (1962), followed by work at the San Francisco Museum of Modern Art (1963), conceived of as in time, controlled movement of sound in space. Twelve speakers surrounded the audience, four speakers were mounted on a rotating, mobile-like construction above. In an SFMOMA performance the following year (1964), "San Francisco Chronicle" music critic Alfred Frankenstein commented, "the possibilities of the space-sound continuum have seldom been so extensively explored". In 1967, the first Audium, a "sound-space continuum" opened, holding weekly performances through 1970. In 1975, enabled by seed money from the National Endowment for the Arts, a new Audium opened, designed floor to ceiling for spatial sound composition and performance. "In contrast, there are composers who manipulated sound space by locating multiple speakers at various locations in a performance space and then switching or panning the sound between the sources. In this approach, the composition of spatial manipulation is dependent on the location of the speakers and usually exploits the acoustical properties of the enclosure. Examples include Varese's "Poeme Electronique" (tape music performed in the Philips Pavilion of the 1958 World Fair, Brussels) and Stan Schaff's "Audium" installation, currently active in San Francisco." Through weekly programs (over 4,500 in 40 years), Shaff "sculpts" sound, performing now-digitized spatial works live through 176 speakers.


title: Electronic music

text: Jean-Jacques Perrey experimented with Schaeffer's techniques on tape loops and was among the first to use the recently released Moog synthesizer developed by Robert Moog. With this instrument he composed some works with Gershon Kingsley and solo. A well-known example of the use of Moog's full-sized Moog modular synthesizer is the 1968 "Switched-On Bach" album by Wendy Carlos, which triggered a craze for synthesizer music. In 1969 David Tudor brought a Moog modular synthesizer and Ampex tape machines to the National Institute of Design in Ahmedabad with the support of the Sarabhai family, forming the foundation of India's first electronic music studio. Here a group of composers Jinraj Joshipura, Gita Sarabhai, SC Sharma, IS Mathur and Atul Desai developed experimental sound compositions between 1969 and 1973


title: Electronic music

text: Musical melodies were first generated by the computer CSIRAC in Australia in 1950. There were newspaper reports from America and England (early and recently) that computers may have played music earlier, but thorough research has debunked these stories as there is no evidence to support the newspaper reports (some of which were obviously speculative). Research has shown that people "speculated" about computers playing music, possibly because computers would make noises, but there is no evidence that they actually did it.


title: Electronic music

text: The world's first computer to play music was CSIRAC, which was designed and built by Trevor Pearcey and Maston Beard in the 1950s. Mathematician Geoff Hill programmed the CSIRAC to play popular musical melodies from the very early 1950s. In 1951 it publicly played the "Colonel Bogey March" of which no known recordings exist.


title: Electronic music

text: However, CSIRAC played standard repertoire and was not used to extend musical thinking or composition practice which is current computer-music practice.


title: Electronic music

text: The first music to be performed in England was a performance of the British National Anthem that was programmed by Christopher Strachey on the Ferranti Mark I, late in 1951. Later that year, short extracts of three pieces were recorded there by a BBC outside broadcasting unit: the National Anthem, "Ba, Ba Black Sheep", and "In the Mood" and this is recognised as the earliest recording of a computer to play music. This recording can be heard at this Manchester University site. Researchers at the University of Canterbury, Christchurch declicked and restored this recording in 2016 and the results may be heard on SoundCloud.


title: Electronic music

text: The late 1950s, 1960s, and 1970s also saw the development of large mainframe computer synthesis. Starting in 1957, Max Mathews of Bell Labs developed the MUSIC programs, culminating in MUSIC V, a direct digital synthesis language. Laurie Spiegel developed the algorithmic musical composition software "Music Mouse" (1986) for Macintosh, Amiga, and Atari computers.


title: Electronic music

text: An important new development was the advent of computers to compose music, as opposed to manipulating or creating sounds. Iannis Xenakis began what is called "musique stochastique", or "stochastic music", which is a composing method that uses mathematical probability systems. Different probability algorithms were used to create a piece under a set of parameters. Xenakis used computers to compose pieces like "ST/4" for string quartet and "ST/48" for orchestra (both 1962), "Morsima-Amorsima", "ST/10", and "Atrées". He developed the computer system UPIC for translating graphical images into musical results and composed "Mycènes Alpha" (1978) with it.


title: Electronic music

text: In Europe in 1964, Karlheinz Stockhausen composed "Mikrophonie I" for tam-tam, hand-held microphones, filters, and potentiometers, and "Mixtur" for orchestra, four sine-wave generators, and four ring modulators. In 1965 he composed "Mikrophonie II" for choir, Hammond organ, and ring modulators.


title: Electronic music

text: In 1966–1967, Reed Ghazala discovered and began to teach "circuit bending"—the application of the creative short circuit, a process of chance short-circuiting, creating experimental electronic instruments, exploring sonic elements mainly of timbre and with less regard to pitch or rhythm, and influenced by John Cage's aleatoric music concept.


title: Electronic music

text: Cosey Fanni Tutti's performance art and musical career explored the concept of 'acceptable' music and she went on to explore the use of sound as a means of desire or discomfort.


title: Electronic music

text: Wendy Carlos performed selections from her album "Switched-On Bach" on stage with a synthesizer with the St. Louis Symphony Orchestra; another live performance was with Kurzweil Baroque Ensemble for "Bach at the Beacon" in 1997. In June 2018, Suzanne Ciani released "LIVE Quadraphonic", a live album documenting her first solo performance on a Buchla synthesizer in 40 years. It was one of the first quadraphonic vinyl releases in over 30 years.


title: Electronic music

text: In the 1950s, Japanese electronic musical instruments began influencing the international music industry. Ikutaro Kakehashi, who founded Ace Tone in 1960, developed his own version of electronic percussion that had been already popular on the overseas electronic organ. At NAMM 1964, he revealed it as the R-1 Rhythm Ace, a hand-operated percussion device that played electronic drum sounds manually as the user pushed buttons, in a similar fashion to modern electronic drum pads.


title: Electronic music

text: In 1963, Korg released the Donca-Matic DA-20, an electro-mechanical drum machine. In 1965, Nippon Columbia patented a fully electronic drum machine. Korg released the Donca-Matic DC-11 electronic drum machine in 1966, which they followed with the Korg Mini Pops, which was developed as an option for the Yamaha Electone electric organ. Korg's Stageman and Mini Pops series were notable for "natural metallic percussion" sounds and incorporating controls for drum "breaks and fill-ins."


title: Electronic music

text: In 1967, Ace Tone founder Ikutaro Kakehashi patented a preset rhythm-pattern generator using diode matrix circuit similar to the Seeburg's prior filed in 1964 (See Drum machine#History), which he released as the FR-1 Rhythm Ace drum machine the same year. It offered 16 preset patterns, and four buttons to manually play each instrument sound (cymbal, claves, cowbell and bass drum). The rhythm patterns could also be cascaded together by pushing multiple rhythm buttons simultaneously, and the possible combination of rhythm patterns were more than a hundred. Ace Tone's Rhythm Ace drum machines found their way into popular music from the late 1960s, followed by Korg drum machines in the 1970s. Kakehashi later left Ace Tone and founded Roland Corporation in 1972, with and becoming highly influential for the next several decades. The company would go on to have a big impact on popular music, and do more to shape popular electronic music than any other company.


title: Electronic music

text: Turntablism has origins in the invention of direct-drive turntables. Early belt-drive turntables were unsuitable for turntablism, since they had a slow start-up time, and they were prone to wear-and-tear and breakage, as the belt would break from backspin or scratching. The first direct-drive turntable was invented by Shuichi Obata, an engineer at Matsushita (now Panasonic), based in Osaka, Japan. It eliminated belts, and instead employed a motor to directly drive a platter on which a vinyl record rests. In 1969, Matsushita released it as the SP-10, the first direct-drive turntable on the market, and the first in their influential Technics series of turntables. It was succeeded by the Technics SL-1100 and SL-1200 in the early 1970s, and they were widely adopted by hip hop musicians, with the SL-1200 remaining the most widely used turntable in DJ culture for several decades.


title: Electronic music

text: In Jamaica, a form of popular electronic music emerged in the 1960s, dub music, rooted in sound system culture. Dub music was pioneered by studio engineers, such as Sylvan Morris, King Tubby, Errol Thompson, Lee "Scratch" Perry, and Scientist, producing reggae-influenced experimental music with electronic sound technology, in recording studios and at sound system parties. Their experiments included forms of tape-based composition comparable to aspects of "musique concrète", an emphasis on repetitive rhythmic structures (often stripped of their harmonic elements) comparable to minimalism, the electronic manipulation of spatiality, the sonic electronic manipulation of pre-recorded musical materials from mass media, deejays toasting over pre-recorded music comparable to live electronic music, remixing music, turntablism, and the mixing and scratching of vinyl.


title: Electronic music

text: Despite the limited electronic equipment available to dub pioneers such as King Tubby and Lee "Scratch" Perry, their experiments in remix culture were musically cutting-edge. King Tubby, for example, was a sound system proprietor and electronics technician, whose small front-room studio in the Waterhouse ghetto of western Kingston was a key site of dub music creation.


title: Electronic music

text: In the late 1960s, pop and rock musicians, including the Beach Boys and the Beatles, began to use electronic instruments, like the theremin and Mellotron, to supplement and define their sound. In his book "Electronic and Experimental Music", Thom Holmes recognises the Beatles' 1966 recording "Tomorrow Never Knows" as the song that "ushered in a new era in the use of electronic music in rock and pop music" due to the band's incorporation of tape loops and reversed and speed-manipulated tape sounds.


title: Electronic music

text: Also in the late 1960s, the music duo Silver Apples and experimental rock bands like White Noise and the United States of America, are regarded as pioneers in the electronic rock and electronica genres for their work in melding psychedelic rock with oscillators and synthesizers. The 1969 instrumental "Popcorn" written by Gershon Kingsley for "Music To Moog By" became a worldwide success due to the 1972 version made by Hot Butter.


title: Electronic music

text: By the end of the 1960s, the Moog synthesizer took a leading place in the sound of emerging progressive rock with bands including Pink Floyd, Yes, Emerson, Lake & Palmer, and Genesis making them part of their sound. Instrumental prog rock was particularly significant in continental Europe, allowing bands like Kraftwerk, Tangerine Dream, Can, Neu!, and Faust to circumvent the language barrier. Their synthesiser-heavy "krautrock", along with the work of Brian Eno (for a time the keyboard player with Roxy Music), would be a major influence on subsequent electronic rock.


title: Electronic music

text: Ambient dub was pioneered by King Tubby and other Jamaican sound artists, using DJ-inspired ambient electronics, complete with drop-outs, echo, equalization and psychedelic electronic effects. It featured layering techniques and incorporated elements of world music, deep basslines and harmonic sounds. Techniques such as a long echo delay were also used. Other notable artists within the genre include Dreadzone, Higher Intelligence Agency, The Orb, Ott, Loop Guru, Woob and Transglobal Underground.


title: Electronic music

text: Dub music influenced electronic musical techniques later adopted by hip hop music when Jamaican immigrant DJ Kool Herc in the early 1970s introduced Jamaica's sound system culture and dub music techniques to America. One such technique that became popular in hip hop culture was playing two copies of the same record on two turntables in alternation, extending the b-dancers' favorite section. The turntable eventually went on to become the most visible electronic musical instrument, and occasionally the most virtuosic, in the 1980s and 1990s.


title: Electronic music

text: Electronic rock was also produced by several Japanese musicians, including Isao Tomita's "Electric Samurai: Switched on Rock" (1972), which featured Moog synthesizer renditions of contemporary pop and rock songs, and Osamu Kitajima's progressive rock album "Benzaiten" (1974). The mid-1970s saw the rise of electronic art music musicians such as Jean Michel Jarre, Vangelis, Tomita and Klaus Schulze who were significant influences on the development of new-age music. The "hi-tech" appeal of these works created for some years the trend of listing the electronic musical equipment employed in the album sleeves, as a distinctive feature. Electronic music began to enter regularly in radio programming and top-sellers charts, as the French band Space with their debut studio album "Magic Fly" or Jarre with "Oxygène". Between 1977 and 1981, Kraftwerk released albums such as "Trans-Europe Express", "The Man-Machine" or "Computer World", which influenced subgenres of electronic music.


title: Electronic music

text: In this era, the sound of rock musicians like Mike Oldfield and The Alan Parsons Project (who is credited the first rock song to feature a digital vocoder in 1975, "The Raven") used to be arranged and blended with electronic effects and/or music as well, which became much more prominent in the mid-1980s. Jeff Wayne achieved a long-lasting success with his 1978 electronic rock musical version of "The War of the Worlds".


title: Electronic music

text: Film scores also benefit from the electronic sound. During the 1970s and 1980s, Wendy Carlos composed the score for "A Clockwork Orange", "The Shining" and "Tron". In 1977, Gene Page recorded a disco version of the hit theme by John Williams from Steven Spielberg film "Close Encounters of the Third Kind". Page's version peaked on the R&B chart at #30. The score of 1978 film "Midnight Express" composed by Italian synth-pioneer Giorgio Moroder won the Academy Award for Best Original Score in 1979, as did it again in 1981 the score by Vangelis for "Chariots of Fire". After the arrival of punk rock, a form of basic electronic rock emerged, increasingly using new digital technology to replace other instruments. The American duo Suicide, who arose from the punk scene in New York, utilized drum machines and synthesizers in a hybrid between electronics and punk on their eponymous 1977 album.


title: Electronic music

text: Synth-pop pioneering bands which enjoyed success for years included Ultravox with their 1977 track "Hiroshima Mon Amour" on "Ha!-Ha!-Ha!", Yellow Magic Orchestra with their self-titled album (1978), The Buggles with their prominent 1979 debut single "Video Killed the Radio Star", Gary Numan with his solo debut album "The Pleasure Principle" and single "Cars" in 1979, Orchestral Manoeuvres in the Dark with their 1979 single "Electricity" featured on their eponymous debut album, Depeche Mode with their first single "Dreaming of Me" recorded in 1980 and released in 1981 album "Speak & Spell", A Flock of Seagulls with their 1981 single "Talking", New Order with "Ceremony" in 1981, and The Human League with their 1981 hit "Don't You Want Me" from their third album "Dare".


title: Electronic music

text: The definition of MIDI and the development of digital audio made the development of purely electronic sounds much easier, with audio engineers, producers and composers exploring frequently the possibilities of virtually every new model of electronic sound equipment launched by manufacturers. Synth-pop sometimes used synthesizers to replace all other instruments, but it was more common that bands had one or more keyboardists in their line-ups along with guitarists, bassists, and/or drummers. These developments led to the growth of synth-pop, which after it was adopted by the New Romantic movement, allowed synthesizers to dominate the pop and rock music of the early 1980s until the style began to fall from popularity in the mid-to-end of the decade. Along with the aforementioned successful pioneers, key acts included Yazoo, Duran Duran, Spandau Ballet, Culture Club, Talk Talk, Japan, and Eurythmics.


title: Electronic music

text: Synth-pop was taken up across the world, with international hits for acts including Men Without Hats, Trans-X and Lime from Canada, Telex from Belgium, Peter Schilling, Sandra, Modern Talking, Propaganda and Alphaville from Germany, Yello from Switzerland and Azul y Negro from Spain. Also, the synth sound is a key feature of Italo-disco.


title: Electronic music

text: Some synth-pop bands created futuristic visual styles of themselves to reinforce the idea of electronic sounds were linked primarily with technology, as Americans Devo and Spaniards Aviador Dro.


title: Electronic music

text: Keyboard synthesizers became so common that even heavy metal rock bands, a genre often regarded as the "opposite" in aesthetics, sound and lifestyle from that of electronic pop artists by fans of both sides, achieved worldwide success with themes as 1983 "Jump" by Van Halen and 1986 "The Final Countdown" by Europe, which feature synths prominently.


title: Electronic music

text: (EMS), formerly known as Electroacoustic Music in Sweden, is the Swedish national centre for electronic music and sound art. The research organisation started in 1964 and is based in Stockholm.


title: Electronic music

text: STEIM is a center for research and development of new musical instruments in the electronic performing arts, located in Amsterdam, Netherlands. STEIM has existed since 1969. It was founded by Misha Mengelberg, Louis Andriessen, Peter Schat, Dick Raaymakers, , Reinbert de Leeuw, and Konrad Boehmer. This group of Dutch composers had fought for the reformation of Amsterdam's feudal music structures; they insisted on Bruno Maderna's appointment as musical director of the Concertgebouw Orchestra and enforced the first public fundings for experimental and improvised electronic music in the Netherlands.


title: Electronic music

text: IRCAM in Paris became a major center for computer music research and realization and development of the Sogitec 4X computer system, featuring then revolutionary real-time digital signal processing. Pierre Boulez's "Répons" (1981) for 24 musicians and 6 soloists used the 4X to transform and route soloists to a loudspeaker system.


title: Electronic music

text: Released in 1970 by Moog Music, the Mini-Moog was among the first widely available, portable, and relatively affordable synthesizers. It became once the most widely used synthesizer at that time in both popular and electronic art music.


title: Electronic music

text: Patrick Gleeson, playing live with Herbie Hancock at the beginning of the 1970s, pioneered the use of synthesizers in a touring context, where they were subject to stresses the early machines were not designed for.


title: Electronic music

text: In 1974, the WDR studio in Cologne acquired an EMS Synthi 100 synthesizer, which many composers used to produce notable electronic works—including Rolf Gehlhaar's "Fünf deutsche Tänze" (1975), Karlheinz Stockhausen's "Sirius" (1975–1976), and John McGuire's "Pulse Music III" (1978).


title: Electronic music

text: Thanks to miniaturization of electronics in the 1970s, by the start of the 1980s keyboard synthesizers, became lighter and affordable, integrating into a single slim unit all the necessary audio synthesis electronics and the piano-style keyboard itself, in sharp contrast with the bulky machinery and "cable spaguetty" employed along with the 1960s and 1970s. First, with analog synthesizers, the trend followed with digital synthesizers and samplers as well (see below).


title: Electronic music

text: In 1975, the Japanese company Yamaha licensed the algorithms for frequency modulation synthesis (FM synthesis) from John Chowning, who had experimented with it at Stanford University since 1971. Yamaha's engineers began adapting Chowning's algorithm for use in a digital synthesizer, adding improvements such as the "key scaling" method to avoid the introduction of distortion that normally occurred in analog systems during frequency modulation.


title: Electronic music

text: In 1980, Yamaha eventually released the first FM digital synthesizer, the Yamaha GS-1, but at an expensive price. In 1983, Yamaha introduced the first stand-alone digital synthesizer, the DX7, which also used FM synthesis and would become one of the best-selling synthesizers of all time. The DX7 was known for its recognizable bright tonalities that was partly due to an overachieving sampling rate of 57 kHz.


title: Electronic music

text: The Korg Poly-800 is a synthesizer released by Korg in 1983. Its initial list price of $795 made it the first fully programmable synthesizer that sold for less than $1000. It had 8-voice polyphony with one Digitally controlled oscillator (DCO) per voice.


title: Electronic music

text: The Casio CZ-101 was the first and best-selling phase distortion synthesizer in the Casio CZ line. Released in November 1984, it was one of the first (if not the first) fully programmable polyphonic synthesizers that was available for under $500.


title: Electronic music

text: The Roland D-50 is a digital synthesizer produced by Roland and released in April 1987. Its features include subtractive synthesis, on-board effects, a joystick for data manipulation, and an analogue synthesis-styled layout design. The external Roland PG-1000 (1987–1990) programmer could also be attached to the D-50 for more complex manipulation of its sounds.


title: Electronic music

text: A sampler is an electronic or digital musical instrument which uses sound recordings (or "samples") of real instrument sounds (e.g., a piano, violin or trumpet), excerpts from recorded songs (e.g., a five-second bass guitar riff from a funk song) or found sounds (e.g., sirens and ocean waves). The samples are loaded or recorded by the user or by a manufacturer. These sounds are then played back using the sampler program itself, a MIDI keyboard, sequencer or another triggering device (e.g., electronic drums) to perform or compose music. Because these samples are usually stored in digital memory, the information can be quickly accessed. A single sample may often be pitch-shifted to different pitches to produce musical scales and chords.


title: Electronic music

text: Before computer memory-based samplers, musicians used tape replay keyboards, which store recordings on analog tape. When a key is pressed the tape head contacts the moving tape and plays a sound. The Mellotron was the most notable model, used by many groups in the late 1960s and the 1970s, but such systems were expensive and heavy due to the multiple tape mechanisms involved, and the range of the instrument was limited to three octaves at the most. To change sounds a new set of tapes had to be installed in the instrument. The emergence of the digital sampler made sampling far more practical.


title: Electronic music

text: The earliest digital sampling was done on the EMS Musys system, developed by Peter Grogono (software), David Cockerell (hardware and interfacing), and Peter Zinovieff (system design and operation) at their London (Putney) Studio c. 1969.


title: Electronic music

text: The first commercially available sampling synthesizer was the Computer Music Melodian by Harry Mendell (1976).


title: Electronic music

text: First released in 1977–1978, the Synclavier I using FM synthesis, re-licensed from Yamaha, and sold mostly to universities, proved to be highly influential among both electronic music composers and music producers, including Mike Thorne, an early adopter from the commercial world, due to its versatility, its cutting-edge technology, and distinctive sounds.


title: Electronic music

text: The first polyphonic digital sampling synthesizer was the Australian-produced Fairlight CMI, first available in 1979. These early sampling synthesizers used wavetable sample-based synthesis.


title: Electronic music

text: In 1980, a group of musicians and music merchants met to standardize an interface that new instruments could use to communicate control instructions with other instruments and computers. This standard was dubbed Musical Instrument Digital Interface (MIDI) and resulted from a collaboration between leading manufacturers, initially Sequential Circuits, Oberheim, Roland—and later, other participants that included Yamaha, Korg, and Kawai. A paper was authored by Dave Smith of Sequential Circuits and proposed to the Audio Engineering Society in 1981. Then, in August 1983, the MIDI Specification 1.0 was finalized.


title: Electronic music

text: MIDI technology allows a single keystroke, control wheel motion, pedal movement, or command from a microcomputer to activate every device in the studio remotely and synchrony, with each device responding according to conditions predetermined by the composer.


title: Electronic music

text: MIDI instruments and software made powerful control of sophisticated instruments easily affordable by many studios and individuals. Acoustic sounds became reintegrated into studios via sampling and sampled-ROM-based instruments.


title: Electronic music

text: Miller Puckette developed graphic signal-processing software for 4X called Max (after Max Mathews) and later ported it to Macintosh (with Dave Zicarelli extending it for Opcode) for real-time MIDI control, bringing algorithmic composition availability to most composers with modest computer programming background.


title: Electronic music

text: The early 1980s saw the rise of bass synthesizers, the most influential being the Roland TB-303, a bass synthesizer and sequencer released in late 1981 that later became a fixture in electronic dance music, particularly acid house. One of the first to use it was Charanjit Singh in 1982, though it wouldn't be popularized until Phuture's "Acid Tracks" in 1987. Music sequencers began being used around the mid 20th century, and Tomita's albums in mid-1970s being later examples. In 1978, Yellow Magic Orchestra were using computer-based technology in conjunction with a synthesiser to produce popular music, making their early use of the microprocessor-based Roland MC-8 Microcomposer sequencer.


title: Electronic music

text: Drum machines, also known as rhythm machines, also began being used around the late-1950s, with a later example being Osamu Kitajima's progressive rock album "Benzaiten" (1974), which used a rhythm machine along with electronic drums and a synthesizer. In 1977, Ultravox's "Hiroshima Mon Amour" was one of the first singles to use the metronome-like percussion of a Roland TR-77 drum machine. In 1980, Roland Corporation released the TR-808, one of the first and most popular programmable drum machines. The first band to use it was Yellow Magic Orchestra in 1980, and it would later gain widespread popularity with the release of Marvin Gaye's "Sexual Healing" and Afrika Bambaataa's "Planet Rock" in 1982. The TR-808 was a fundamental tool in the later Detroit techno scene of the late 1980s, and was the drum machine of choice for Derrick May and Juan Atkins.


title: Electronic music

text: The characteristic lo-fi sound of chip music was initially the result of early computer's sound chips and sound cards' technical limitations; however, the sound has since become sought after in its own right.


title: Electronic music

text: Common cheap popular sound chips of the first home computers of the 1980s include the SID of the Commodore 64 and General Instrument AY series and clones (like the Yamaha YM2149) used in the ZX Spectrum, Amstrad CPC, MSX compatibles and Atari ST models, among others.


title: Electronic music

text: Synth-pop continued into the late 1980s, with a format that moved closer to dance music, including the work of acts such as British duos Pet Shop Boys, Erasure and The Communards, achieving success along much of the 1990s.


title: Electronic music

text: The trend has continued to the present day with modern nightclubs worldwide regularly playing electronic dance music (EDM). Today, electronic dance music has radio stations, websites, and publications like "Mixmag" dedicated solely to the genre. Despite the industry's attempt to create a specific EDM brand, the initialism remains in use as an umbrella term for multiple genres, including dance-pop, house, techno, electro, and trance, as well as their respective subgenres. Moreover, the genre has found commercial and cultural significance in the United States and North America, thanks to the wildly popular big room house/EDM sound that has been incorporated into the U.S. pop music and the rise of large-scale commercial raves such as Electric Daisy Carnival, Tomorrowland and Ultra Music Festival.