| Experimental Electronic Music | |
| Stylistic origins | Avant-Garde Music, Free Improvisation |
|---|---|
| Cultural origins | Late 1940s and early 1950s France |
| Derivatives | |
| Ambient, Industrial, Minimalism | |
| Subgenres | |
| Biomusic, Deconstructed Club, Electroacoustic Music, Glitch, Musique Concrète, Noise, Plunderphonics, Reductionism, Sampledelia, Spectral Music, Speedbass | |
| Fusion genres | |
| Experimental Ambient, Experimental Dubstep, Experimental Drum and Bass, Experimental Pop, Experimental Techno, Leftfield Bass, Leftfield House | |
| Other topics | |
| Circuit Bending, Hauntology | |
Experimental electronic music is the oldest form of electronic music. This scene is renowned for its non-traditional production technique. It emerged in the late '40s and early '50s to designate music genres such as musique concrète and electroacousmatic music. These extremely early ventures into electronic music were largely academic in that a lot of the music was meant to explore how these prototypical machines functioned and what kind of sounds could be produced. Whether the music was 'enjoyable' or 'musical' was secondary to achievements in what these instruments could do. Mass production of analog synthesizers or drum machines would not happen until the mid-60s when Robert Moog began producing his first synthesizers. So from the '40s to then, the landscape of electronic music was exclusively just experimental whirrings and bleeps of these machines made by hand by engineers.
Notable practioners[]
- Hugh Le Caine
- Pierre Schaeffer