{"id":918,"date":"2015-08-09T10:41:07","date_gmt":"2015-08-09T09:41:07","guid":{"rendered":"http:\/\/electro-strasbourg.eu\/blog\/?page_id=918"},"modified":"2015-10-16T00:29:11","modified_gmt":"2015-10-15T23:29:11","slug":"cinquante-ans-delectro-dans-la-musique-1950-2000","status":"publish","type":"page","link":"http:\/\/electro-strasbourg.eu\/blog\/ressources\/audio-video\/cinquante-ans-delectro-dans-la-musique-1950-2000\/","title":{"rendered":"Cinquante ans d\u2019\u00e9lectro dans la musique 1950 \u2013 2000"},"content":{"rendered":"

(Page de ressources au Shadok – lien d’origine<\/a>)<\/p>\n

Texte et s\u00e9lection des commissaire de l\u2019exposition
\n\u00ab\u00a0Espaces Sonores \u00bb<\/a>
\nS\u00e9bastien Clara, Ga\u00ebtan Gromer et Eric Maestri.<\/p><\/blockquote>\n

Les avanc\u00e9s techniques de la fin du XIXe\u00a0si\u00e8cle ont modifi\u00e9 notre rapport au son. Le t\u00e9l\u00e9phone a ainsi permis de transcoder le son en \u00e9lectricit\u00e9 et d\u2019entendre un signal sonore d\u2019un bout \u00e0 l\u2019autre de la plan\u00e8te. De m\u00eame, l\u2019enregistrement a d\u00e9contextualis\u00e9 l\u2019ex\u00e9cution musicale de son \u00e9coute car s\u2019il \u00e9tait auparavant n\u00e9cessaire de jouer d\u2019un instrument ou d\u2019aller au concert pour entendre de la musique, toutes les musiques sont aujourd\u2019hui facilement accessibles, voire omnipr\u00e9sentes.<\/p>\n

D\u00e8s le XVIIIe\u00a0si\u00e8cle, les ing\u00e9nieurs ont adopt\u00e9 les technologies \u00e9lectriques analogiques puis \u00e9lectroniques pour fabriquer des instruments. Ainsi, Jean-Baptiste Delaborde \u00e9labore un clavecin \u00e9lectrique en 1759 tandis que le premier instrument de musique \u00e9lectrom\u00e9canique, le telharmonium, est construit par Thaddeus Cahill en 1897. En 1919, Leon Termen invente le premier instrument sans contact, le Theremin, qui est toujours commercialis\u00e9, et en 1957, Max Mathews r\u00e9alise aux laboratoires Bell le premier enregistrement num\u00e9rique et la premi\u00e8re synth\u00e8se num\u00e9rique de son. \u00c0 partir des ann\u00e9es 1970, les technologies de l\u2019information et de la communication sont devenues des outils standards de la cr\u00e9ation artistique.<\/p>\n

Cette page donne un aper\u00e7u de l\u2019\u00e9volution sonore de la seconde moiti\u00e9 du XXe\u00a0si\u00e8cle et retrace les diff\u00e9rentes ramifications des musiques \u00e9lectroniques dans toute leur diversit\u00e9.<\/p>\n

AVANT-GARDES ET PIONNIERS<\/h2>\n

1950 \u2013\u00a0Pierre Schaeffer<\/a>\u00a0\/\u00a0Pierre Henry<\/a>\u00a0\u2013\u00a0Symphonie pour un homme seul<\/i><\/a>
\n1952 \u2013\u00a0John Cage<\/a>\u00a0\u2013\u00a0Williams Mix<\/i><\/a>
\n1952 \u2013\u00a0Otto Luening<\/a>\u00a0\u2013\u00a0Fantasy in Space<\/i><\/a>
\n1954 \u2013\u00a0La firme RCA\u00a0(en<\/a>)\u00a0produit le premier synth\u00e9tiseur.
\n1954 \u2013\u00a0Diffusion grand public des\u00a0magn\u00e9tophones \u00e0 bande<\/a>.
\n1956 \u2013\u00a0Lejaren A. Hiller<\/a>\u00a0et Leonard Isaacson (en<\/a>) \u2013\u00a0Illiac Suite String Quartet<\/i><\/a>
\n1956 \u2013\u00a0Karlheinz Stockhausen<\/a>\u00a0\u2013\u00a0Gesang der J\u00fcnglige<\/i><\/a>
\n1957 \u2013\u00a0Max Mathews<\/a>\u00a0r\u00e9alise aux laboratoires Bell le premier enregistrement num\u00e9rique et la premi\u00e8re synth\u00e8se num\u00e9rique de son avec le logiciel MUSIC (naissance de l\u00b4Audionum\u00e9rique).
\n1957 \u2013 Newman Guttman \u2013\u00a0The Silver Scale<\/i><\/a>
\n1957-58 \u2013\u00a0Edgar Var\u00e8se<\/a>\u00a0\u2013\u00a0Po\u00e8me \u00e9lectronique<\/i><\/a>
\n1958 \u2013\u00a0Les disques devinnent\u00a0st\u00e9r\u00e9ophoniques<\/a>.
\n1958 \u2013\u00a0Pierre Schaeffer<\/a>\u00a0\u2013\u00a0\u00c9tude aux allures<\/i><\/a>
\n1958 \u2013\u00a0Bruno Maderna<\/a>\u00a0\u2013\u00a0Musica su due dimensioni<\/i><\/a>
\n1958 \u2013\u00a0Luciano Berio<\/a>\u00a0\u2013\u00a0Thema Omaggio a Joyce<\/i><\/a>
\n1958 \u2013\u00a0Iannis Xenakis<\/a>\u00a0\u2013\u00a0Concert PH<\/i><\/a>
\n1960 \u2013\u00a0Brion Gysin<\/a>\u00a0\u2013\u00a0I AM THAT I AM<\/i><\/a>
\n1960 \u2013\u00a0Bell Telephone Laboratorie<\/a>\u00a0\u2013\u00a0Music From Mathematics<\/i><\/a>\u00a0[Full Album<\/a>]
\n1961 \u2013\u00a0Max Mathews<\/a>\u00a0et Joan Miller \u2013\u00a0Bicycle Built for Two<\/i><\/a>
\n1961 \u2013\u00a0James Tenney<\/a>\u00a0\u2013\u00a0Analog #1(Noise Study)<\/i><\/a>
\n1961-63 \u2013\u00a0Milton Babbitt<\/a>\u00a0\u2013\u00a0Ensembles for Synthesizer<\/i><\/a>
\n1963 \u2013\u00a0Luc Ferrari<\/a>\u00a0\u2013\u00a0H\u00e9t\u00e9rozygote<\/i><\/a>
\n1963 \u2013\u00a0Pierre Henry<\/a>\u00a0\u2013\u00a0Variations pour une porte et un soupir<\/i><\/a>
\n1963 \u2013\u00a0Henri Chopin<\/a>\u00a0\u2013\u00a0Vibrespace<\/i><\/a>
\n1964 \u2013\u00a0Premiers synth\u00e9tiseurs command\u00e9s par tensions\u00a0(Moog<\/a>,\u00a0ARP<\/a>,\u00a0Buchla<\/a>).
\n1965 \u2013\u00a0Steve Reich<\/a>\u00a0\u2013\u00a0It\u00b4s Gonna Rain<\/i><\/a>
\n1966 \u2013\u00a0Fran\u00e7ois Dufr\u00eane<\/a>\u00a0\u2013\u00a0Triptycrirythme<\/i><\/a>
\n1966 \u2013\u00a0The Beach Boys<\/a>\u00a0\u2013\u00a0Pet Sounds<\/i><\/a>
\n1967 \u2013\u00a0Pink Floyd<\/a>\u00a0\u2013\u00a0The Piper at the Gates of Dawn<\/i><\/a>
\n1967 \u2013 The\u00a0Jimi Hendrix<\/a>\u00a0Experience \u2013\u00a0Are You Experienced<\/i><\/a>
\n1967 \u2013\u00a0Jefferson Airplane<\/a>\u00a0\u2013\u00a0Surrealistic Pillow<\/i><\/a>
\n1967 \u2013\u00a0The Doors<\/a>\u00a0\u2013\u00a0Strange Days<\/i><\/a>
\n1967 \u2013\u00a0The Beatles<\/a>\u00a0\u2013\u00a0Sgt. Pepper\u2019s Lonely Hearts Club Band<\/i><\/a>
\n1967 \u2013\u00a0Karlheinz Stockhausen<\/a>\u00a0\u2013\u00a0Mixtur<\/i><\/a>
\n1967-68 \u2013\u00a0Bernard Parmegiani<\/a>\u00a0\u2013\u00a0Capture \u00e9ph\u00e9m\u00e8re<\/i><\/a>
\n1968 \u2013\u00a0Wendy Carlos<\/a>\u00a0\u2013\u00a0Switched-On Bach<\/i><\/a>
\n1968 \u2013 Bob Cobbing (en<\/a>) \u2013\u00a0Chamber Music<\/i><\/a>
\n1968 \u2013\u00a0Frank Zappa<\/a>\u00a0\u2013\u00a0We\u00b4re Only in It for the Money<\/i><\/a>
\n1968 \u2013\u00a0Ivo Malec<\/a>\u00a0\u2013\u00a0Lumina<\/i><\/a>
\n1968 \u2013\u00a0Silver Apples<\/a>\u00a0\u2013\u00a0Silver Apples<\/i><\/a>
\n1969 \u2013\u00a0Jean-Claude Risset<\/a>\u00a0\u2013\u00a0Mutation<\/i><\/a>
\n1969 \u2013\u00a0Alvin Lucier<\/a>\u00a0\u2013\u00a0I Am Sitting in a Room<\/i><\/a>
\n1969 \u2013\u00a0The Who<\/a>\u00a0\u2013\u00a0Tommy<\/i><\/a>
\n1969 \u2013\u00a0Led Zeppelin<\/a>\u00a0\u2013\u00a0Led Zeppelin II<\/i><\/a>
\n1969 \u2013\u00a0Amon D\u00fc\u00fcl II<\/a>\u00a0\u2013\u00a0Phallus Dei<\/i><\/a>
\n1969 \u2013\u00a0Kluster<\/a>\u00a0\u2013\u00a0Klopfzeichen<\/i><\/a>
\n1969 \u2013\u00a0James Brown<\/a>\u00a0\u2013\u00a0Funky Drummer<\/i><\/a>
\n1969 \u2013\u00a0Sly and the Family Stone<\/a>\u00a0\u2013\u00a0Stand!<\/a><\/i><\/p>\n

EXTENSION DU DOMAINE \u00c9LECTRONIQUE<\/h2>\n

1970 \u2013\u00a0Karlheinz Stockhausen<\/a>\u00a0\u2013\u00a0Mantra<\/i><\/a>
\n1970 \u2013\u00a0Funkadelic<\/a>\u00a0\u2013\u00a0Free Your Mind\u2026 and Your Ass Will Follow<\/i><\/a>
\n1971 \u2013\u00a0Tangerine Dream<\/a>\u00a0\u2013\u00a0Sunrise in the third system<\/i><\/a>
\n1971 \u2013 Alain Savouret \u2013\u00a0L\u00b4arbre et coetera<\/i><\/a>
\n1971 \u2013\u00a0Can<\/a>\u00a0\u2013\u00a0Tago Mago<\/i><\/a>
\n1971 \u2013\u00a0Faust<\/a>\u00a0\u2013\u00a0Faust<\/i><\/a>
\n1972 \u2013\u00a0Manu Dibango<\/a>\u00a0\u2013\u00a0Soul Makossa<\/i><\/a>
\n1972 \u2013 Barrab\u00e1s \u2013\u00a0Woman<\/i><\/a>
\n1972 \u2013\u00a0John Chowning<\/a>\u00a0\u2013\u00a0Turenas<\/i><\/a>
\n1972 \u2013\u00a0Miles Davis<\/a>\u00a0\u2013\u00a0On The Corner<\/i><\/a>
\n1973 \u2013\u00a0Barry White<\/a>\u00b4s Love Unlimited Orchestra \u2013\u00a0Love\u00b4s Theme<\/i><\/a>
\n1973 \u2013\u00a0Fran\u00e7ois Bayle<\/a>\u00a0\u2013\u00a0Vibrations compos\u00e9es<\/i>
\n1973 \u2013\u00a0Lee Scratch Perry<\/a>\u00a0et\u00a0King Tubby<\/a>\u00a0\u2013\u00a0Blackboard Jungle Dub<\/i><\/a>
\n1973 \u2013\u00a0Stevie Wonder<\/a>\u00a0\u2013\u00a0Innervisions<\/i><\/a>
\n1973 \u2013\u00a0Klaus Schulze<\/a>\u00a0\u2013\u00a0Cyborg<\/i><\/a>
\n1973 \u2013\u00a0Neu!<\/a>\u00a0\u2013\u00a0Neu! 2<\/i><\/a>
\n1973 \u2013\u00a0Michel Chion<\/a>\u00a0\u2013\u00a0Requiem<\/i><\/a>
\n1973 \u2013\u00a0Herbie Hancock<\/a>\u00a0\u2013\u00a0Head Hunters<\/i><\/a>
\n1974 \u2013\u00a0Jon Appleton et Sydney Alonso construisent le\u00a0Synclavier<\/a>,\u00a0premier synth\u00e9tiseur num\u00e9rique.
\n1974 \u2013\u00a0Bernard Heidsieck<\/a>\u00a0\u2013\u00a0Vaduz<\/i><\/a>
\n1974 \u2013\u00a0Cluster<\/a>\u00a0\u2013\u00a0Zuckerzeit<\/i><\/a>
\n1974 \u2013\u00a0George McCrae<\/a>\u00a0\u2013\u00a0Rock you Baby<\/i><\/a>
\n1974 \u2013\u00a0Kraftwerk<\/a>\u00a0\u2013\u00a0Autobahn<\/i><\/a>
\n1975 \u2013\u00a0Jean-Claude Risset<\/a>\u00a0\u2013\u00a0Dialogues<\/i>
\n1975 \u2013\u00a0Brian Eno<\/a>\u00a0\u2013\u00a0Discreet Music<\/i><\/a>
\n1975 \u2013\u00a0KC and the Sunshine Band<\/a>\u00a0\u2013\u00a0Get Down Tonight<\/i><\/a>
\n1975 \u2013 Joel Chadabe \u2013\u00a0Flowers<\/i>
\n1976 \u2013\u00a0Francis Bebey<\/a>\u00a0\u2013\u00a0Divorce pygm\u00e9e<\/i><\/a>
\n1976 \u2013\u00a0Ash Ra Tempel<\/a>\u00a0\u2013\u00a0New Age Of Earth<\/i><\/a>
\n1976 \u2013\u00a0Augustus Pablo<\/a>\u00a0and\u00a0King Tubby<\/a>\u00a0\u2013\u00a0King Tubbys Meets Rockers Uptown<\/i><\/a>
\n1976 \u2013\u00a0Jean-Michel Jarre<\/a>\u00a0\u2013\u00a0Oxyg\u00e8ne<\/i><\/a>
\n1976 \u2013\u00a0Guy Reibel<\/a>\u00a0\u2013\u00a0Granulation Sillage<\/i>
\n1977 \u2013\u00a0Iannis Xenakis construit l\u00b4UPIC<\/a>,\u00a0un outil de composition musicale assist\u00e9 par ordinateur qui g\u00e9n\u00e8re du son en fonction des dessins de l\u2019utilisateur.
\n1977 \u2013\u00a0Bee Gees<\/a>\u00a0\u2013\u00a0Saturday Night Fever<\/i><\/a>
\n1977 \u2013\u00a0David Bowie<\/a>\u00a0\u2013\u00a0Low<\/i><\/a>
\n1977 \u2013\u00a0Suicide<\/a>\u00a0\u2013\u00a0Suicide<\/i><\/a>
\n1977 \u2013\u00a0Weather Report<\/a>\u00a0\u2013\u00a0Heavy Weather<\/i><\/a>
\n1977 \u2013\u00a0Karlheinz Stockhausen<\/a>\u00a0\u2013\u00a0Sirius<\/i><\/a>
\n1978 \u2013\u00a0Denis Dufour<\/a>\u00a0\u2013\u00a0Bocalise<\/i><\/a>
\n1978 \u2013\u00a0Devo<\/a>\u00a0\u2013\u00a0Q: Are We Not Men? A: We Are Devo!<\/i><\/a>
\n1978 \u2013\u00a0The Normal<\/a>\u00a0\u2013\u00a0T.V.O.D.<\/i><\/a>
\n1978 \u2013\u00a0Throbbing Gristle<\/a>\u00a0\u2013\u00a0D.o.A: The Third and Final Report<\/i><\/a>
\n1979 \u2013\u00a0Donna Summer<\/a>\u00a0\u2013\u00a0On the Radio<\/i><\/a>
\n1979 \u2013\u00a0Chic<\/a>\u00a0\u2013\u00a0Good Times<\/i><\/a>
\n1979 \u2013\u00a0Joy Division<\/a>\u00a0\u2013\u00a0Unknown Pleasures<\/i><\/a>
\n1979 \u2013\u00a0Tubeway Army<\/a>\u00a0\u2013\u00a0Replicas<\/i><\/a>
\n1979 \u2013\u00a0Public Image Ltd<\/a>\u00a0\u2013\u00a0Metal Box<\/i><\/a>
\n1979 \u2013\u00a0The Sugarhill Gang<\/a>\u00a0\u2013\u00a0Rapper\u00b4s delight<\/i><\/a>
\n1979 \u2013 Joel Chadabe \u2013\u00a0Solo<\/i>
\n1979 \u2013\u00a0Le chercheur Giuseppe di Giugno r\u00e9alise \u00e0 l\u00b4IRCAM la premi\u00e8re station num\u00e9rique pour la cr\u00e9ation musicale temps-r\u00e9el : le Syst\u00e8me 4X.<\/p>\n

D\u00c9MOCRATISATION DU NUM\u00c9RIQUE<\/h2>\n

1980 \u2013\u00a0Fad Gadget<\/a>\u00a0\u2013\u00a0Fireside Favourites<\/i>
\n1980 \u2013\u00a0John Foxx<\/a>\u00a0\u2013\u00a0Metamatic<\/i><\/a>
\n1980 \u2013\u00a0Talking Heads<\/a>\u00a0\u2013\u00a0Remain in Light<\/i><\/a>
\n1981 \u2013\u00a0The Human League<\/a>\u00a0\u2013\u00a0Dare<\/i><\/a>
\n1981 \u2013 Daf \u2013\u00a0Alles ist Gut<\/i><\/a>
\n1981 \u2013\u00a0Depeche Mode<\/a>\u00a0\u2013\u00a0Speak & Spell<\/i><\/a>
\n1981 \u2013\u00a0Klaus Nomi<\/a>\u00a0\u2013\u00a0Klaus Nomi<\/i><\/a>
\n1981 \u2013\u00a0Patrick Cowley<\/a>\u00a0\u2013\u00a0Menergy<\/i><\/a>
\n1981 \u2013\u00a0SPK<\/a>\u00a0\u2013\u00a0Information Overload Unit<\/i><\/a>
\n1981 \u2013\u00a0Pierre Boulez<\/a>\u00a0\u2013\u00a0R\u00e9pons<\/i><\/a>
\n1982 \u2013 Philips et Sony inventent le\u00a0disque compact<\/a>.
\n1982-84 \u2013\u00a0Marco Stroppa<\/a>\u00a0\u2013\u00a0Traiettoria<\/i><\/a>
\n1982 \u2013\u00a0Grandmaster Flash<\/a>\u00a0\u2013\u00a0The Message<\/i><\/a>
\n1982 \u2013\u00a0Afrika Bambaataa<\/a>\u00a0& the\u00a0Soulsonic Force<\/a>\u00a0\u2013\u00a0Planet Rock<\/i><\/a>
\n1983 \u2013\u00a0Le protocole de communication\u00a0MIDI<\/a>\u00a0(Musical Instrument Digital Interface) est normalis\u00e9.
\n1983 \u2013\u00a0Cr\u00e9ation du\u00a0DX7<\/a>\u00a0de Yamaha, premier synth\u00e9tiseur FM num\u00e9rique \u00e0 succ\u00e8s.
\n1983 \u2013\u00a0Eurythmics<\/a>\u00a0\u2013\u00a0Sweet Dreams<\/i><\/a>
\n1984 \u2013\u00a0Jesse Saunders<\/a>\u00a0\u2013\u00a0Funk You Up<\/i><\/a>
\n1985 \u2013\u00a0Jamie Principle<\/a>\u00a0\u2013\u00a0Waiting On My Angel<\/i><\/a>
\n1985 \u2013\u00a0Juan Atkins<\/a>\u00a0\u2013\u00a0No UFO\u00b4s<\/i><\/a>
\n1986 \u2013\u00a0Tristan Murail<\/a>\u00a0\u2013\u00a0Vision de la cit\u00e9 interdite<\/i>
\n1986 \u2013\u00a0Adonis<\/a>\u00a0\u2013\u00a0No Way Back<\/i><\/a>
\n1986 \u2013\u00a0Europe<\/a>\u00a0\u2013\u00a0The Final Countdown<\/i><\/a>
\n1986 \u2013\u00a0Farley Jackmaster Funk<\/a>\u00a0\u2013\u00a0Love Can\u00b4t Turn Around<\/i><\/a>
\n1986 \u2013\u00a0Run\u2013DMC<\/a>\u00a0\u2013\u00a0Raising Hell (Peter Piper)<\/i><\/a>
\n1986 \u2013\u00a0Art Of Noise<\/a>\u00a0\u2013\u00a0In Visible Silence<\/i><\/a>
\n1986 \u2013\u00a0Steve \u00ab\u00a0Silk\u00a0\u00bb Hurley<\/a>\u00a0\u2013\u00a0Jack Your Body<\/i><\/a>
\n1987 \u2013\u00a0Derrick May<\/a>\u00a0\u2013\u00a0Nude Photo<\/i><\/a>
\n1987 \u2013\u00a0Laibach<\/a>\u00a0\u2013\u00a0Opus Dei<\/i><\/a>
\n1987 \u2013\u00a0New Order<\/a>\u00a0\u2013\u00a0Substance<\/i><\/a>
\n1987 \u2013\u00a0Phuture<\/a>\u00a0\u2013\u00a0Acid Tracks<\/i><\/a>
\n1988 \u2013\u00a0Fingers Inc<\/a>\u00a0\u2013\u00a0Another Side<\/i><\/a>
\n1988 \u2013\u00a0Front 242<\/a>\u00a0\u2013\u00a0Headhunter<\/i><\/a>
\n1988 \u2013 Maurice \u2013\u00a0This Is Acid<\/i><\/a>
\n1988 \u2013\u00a0Philippe Manoury<\/a>\u00a0\u2013\u00a0Pluton<\/i><\/a>
\n1988 \u2013\u00a0Horacio Vaggione<\/a>\u00a0\u2013\u00a0SCIR<\/i><\/a>
\n1989 \u2013\u00a0Nine Inch Nails<\/a>\u00a0\u2013\u00a0Terrible lie<\/i><\/a>
\n1990 \u2013\u00a0Premi\u00e8re version commerciale du logiciel\u00a0Max<\/a>\u00a0(Opcode-Ircam).\u00a0Durant les ann\u00e9es 1990, Miller Puckette d\u00e9veloppe\u00a0Pure Data<\/a>\u00a0un logiciel libre \u00e9quivalent \u00e0 Max.
\n1990 \u2013\u00a0Kasper T. Toeplitz<\/a>\u00a0\u2013\u00a0Almant\u00e9s<\/i>
\n1990 \u2013\u00a0G\u00e9rard Grisey<\/a>\u00a0\u2013\u00a0Le noir des \u00e9toiles<\/i><\/a>
\n1990 \u2013\u00a0Public Enemy<\/a>\u00a0\u2013\u00a0Fear of a Black Planet<\/i><\/a>
\n1991 \u2013\u00a0De La Soul<\/a>\u00a0\u2013\u00a0De La Soul Is Dead<\/i><\/a>
\n1991 \u2013\u00a0Frankie Knuckles<\/a>\u00a0\u2013\u00a0Beyond The Mix<\/i><\/a>
\n1991 \u2013\u00a0Jeff Mills<\/a>\u00a0\u2013\u00a0Punisher<\/i><\/a>
\n1992 \u2013\u00a0Dr. Dre<\/a>\u00a0\u2013\u00a0The Chronic<\/i><\/a>
\n1992 \u2013\u00a0Ministry<\/a>\u00a0\u2013\u00a0Psalm 69 : The Way to Succeed and the Way to Suck Eggs<\/i><\/a>
\n1992-94 \u2013 Antoine Bonnet \u2013\u00a0Epitaphe<\/i><\/a>
\n1993 \u2013\u00a0Bj\u00f6rk<\/a>\u00a0\u2013\u00a0Debut<\/i><\/a>
\n1993 \u2013\u00a0Snoop Doggy Dogg<\/a>\u00a0\u2013\u00a0Doggystyle<\/i><\/a>
\n1993 \u2013\u00a0Wu-Tang Clan<\/a>\u00a0\u2013\u00a0Enter the Wu-Tang (36 Chambers)<\/i><\/a>
\n1994 \u2013\u00a0Mise au point de la norme\u00a0mp3<\/a>\u00a0(Mpeg1 Audio Layer 3) par l\u00b4Organisation Internationale de Normalisation et introduction du DVD.
\n1994 \u2013\u00a0Robert Hood<\/a>\u00a0\u2013\u00a0Minimal Nation<\/i><\/a>
\n1994 \u2013\u00a0The Notorious B.I.G.<\/a>\u00a0\u2013\u00a0Ready to Die<\/i><\/a>
\n1994 \u2013\u00a0Nas<\/a>\u00a0\u2013\u00a0Illmatic<\/i><\/a>
\n1994 \u2013\u00a0Autechre<\/a>\u00a0\u2013\u00a0Amber<\/i><\/a>
\n1994 \u2013\u00a0Michael Jarrell<\/a>\u00a0\u2013\u00a0Cassandre<\/i><\/a>
\n1994 \u2013\u00a0Tristan Murail<\/a>\u00a0\u2013\u00a0L\u00b4esprit des dunes<\/i><\/a>
\n1995 \u2013\u00a0Yan Maresz<\/a>\u00a0\u2013\u00a0Metallics<\/i><\/a>
\n1995 \u2013\u00a0Martin Matalon<\/a>\u00a0\u2013\u00a0Metropolis<\/i><\/a>
\n1995 \u2013\u00a0Portishead<\/a>\u00a0\u2013\u00a0Dummy<\/i><\/a>
\n1995-96 \u2013\u00a0Marco Stroppa<\/a>\u00a0\u2013\u00a0Upon a Blade of Grass<\/i><\/a>
\n1996 \u2013\u00a0Cr\u00e9ation de\u00a0SuperCollider<\/a>\u00a0par James McCartney, logiciel pour la musique temps-r\u00e9el et la composition algorithmique. Il devient libre en 2002.
\n1996 \u2013\u00a0Mise au point de la norme\u00a0VST<\/a>\u00a0(Virtual Studio Technology) par la firme Steinberg.
\n1996 \u2013\u00a0Thierry De Mey<\/a>\u00a0\u2013\u00a0Tippeke<\/i>
\n1996 \u2013\u00a0DJ Shadow<\/a>\u00a0\u2013\u00a0The Number Song<\/i><\/a>
\n1996 \u2013\u00a0Carl Craig<\/a>\u00a0\u2013\u00a0The Secret Tapes Of Dr. Eich<\/i>
\n1997 \u2013\u00a0Da Hool<\/a>\u00a0\u2013\u00a0Meet her at the love parade<\/i><\/a>
\n1997 \u2013\u00a0Aphex Twin<\/a>\u00a0\u2013\u00a0Come to Daddy<\/i><\/a>
\n1997 \u2013\u00a0Daft Punk<\/a>\u00a0\u2013\u00a0Homework<\/i><\/a>
\n1998 \u2013\u00a0Richie Hawtin<\/a>\u00a0\u2013\u00a0Consumed<\/i><\/a>
\n1998 \u2013\u00a0Luc Ferrari<\/a>\u00a0\u2013\u00a0Symphonie dechir\u00e9e<\/i><\/a>
\n1998 \u2013\u00a0Massive Attack<\/a>\u00a0\u2013\u00a0Mezzanine<\/i><\/a>
\n1998 \u2013\u00a0Ryoji Ikeda<\/a>\u00a0\u2013\u00a00\u00b0C<\/i><\/a>
\n1998-2000 \u2013\u00a0Fausto Romitelli<\/a>\u00a0\u2013\u00a0Professor Bad Trip I-III<\/i><\/a>
\n2000 \u2013\u00a0Radiohead<\/a>\u00a0\u2013\u00a0Kid A<\/a><\/i><\/p>\n","protected":false},"excerpt":{"rendered":"

(Page de ressources au Shadok – lien d’origine) Texte et s\u00e9lection des commissaire de l\u2019exposition \u00ab\u00a0Espaces Sonores \u00bb S\u00e9bastien Clara, Ga\u00ebtan Gromer et Eric Maestri. Les avanc\u00e9s techniques de la fin du XIXe\u00a0si\u00e8cle ont modifi\u00e9 notre rapport au son. Le t\u00e9l\u00e9phone a ainsi permis de transcoder le son en \u00e9lectricit\u00e9 et d\u2019entendre un signal sonore … Continuer la lecture de Cinquante ans d\u2019\u00e9lectro dans la musique 1950 \u2013 2000<\/span> →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":922,"menu_order":1,"comment_status":"closed","ping_status":"closed","template":"","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-918","page","type-page","status-publish","hentry"],"jetpack_shortlink":"https:\/\/wp.me\/P3WkX1-eO","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"http:\/\/electro-strasbourg.eu\/blog\/wp-json\/wp\/v2\/pages\/918","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/electro-strasbourg.eu\/blog\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/electro-strasbourg.eu\/blog\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/electro-strasbourg.eu\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/electro-strasbourg.eu\/blog\/wp-json\/wp\/v2\/comments?post=918"}],"version-history":[{"count":4,"href":"http:\/\/electro-strasbourg.eu\/blog\/wp-json\/wp\/v2\/pages\/918\/revisions"}],"predecessor-version":[{"id":946,"href":"http:\/\/electro-strasbourg.eu\/blog\/wp-json\/wp\/v2\/pages\/918\/revisions\/946"}],"up":[{"embeddable":true,"href":"http:\/\/electro-strasbourg.eu\/blog\/wp-json\/wp\/v2\/pages\/922"}],"wp:attachment":[{"href":"http:\/\/electro-strasbourg.eu\/blog\/wp-json\/wp\/v2\/media?parent=918"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}