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Talk:Electronic music

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This article was the subject of a Wiki Education Foundation-supported course assignment, between 20 January 2021 and 21 April 2021. Further details are available on the course page. Student editor(s): Kellychen927.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 20:23, 16 January 2022 (UTC)

Gershon Kingsley
I miss Gershon Kingsley on this page. I hope someone with enough knowledge will give him a mention later. —Preceding unsigned comment added by 84.211.173.214 (talk) 20:39, 7 November 2009 (UTC)

Hugh LeCaine
Why doesn't this article have a single mention of Hugh Lecaine? He's an important figure int he history of electronic music and now considered to be the inventor of the first true synthesizer, yet he doesn't get a mention?Revmagpie (talk) 23:03, 23 March 2008 (UTC)
 * In 1961 Josef Tal established the Centre for Electronic Music in Israel at The Hebrew University, and in 1962 Hugh Le Caine arrived in Jerusalem to install his Creative Tape Recorder in the centre.[46] In the 1990s Tal conducted, together with Dr Shlomo Markel, in cooperation with the Technion – Israel Institute of Technology, and VolkswagenStiftung a research project (Talmark) aimed at the development of a novel musical notation system for electronic music.[47]Etan J. Tal 21:25, 20 December 2010 (UTC)

Raymond Scott
Doesn't Raymond Scott's Circle Machine pre-date the RCA Mark II Sound Synthesizer as the first sequencer? Also, doesn't Manhattan Research Inc (est. 1946) deserve a mention (Didn't Bob Moog get his start there?), along with the Clavivox, which Moog credited as an engineering blueprint for his first synth? (Not being snarky with the questions...I'm just learning about the history of electronic music - pre-Kraftwerk and Walter/Wendy Carlos that is :P ) —Preceding unsigned comment added by 64.183.16.136 (talk) 22:40, 29 January 2008 (UTC)

Halim El-Dabh
The Wire magazine claims this Egyptian as the founder of purely electronic music, based on a (now lost) 1944 piece called Ta'abir al-Zaar. Should this be mentioned? Totnesmartin 15:22, 23 February 2007 (UTC)

how very convenient for that particular clique of know-it-alls that the piece is "lost". instead of making things up to seem clever, they should be lamenting the lack of content on the wikipedia electronic music page about raymond scott & manhattan project, & perhaps honourable mentions for paul beaver & bernie krause.

Names, terms, and words
This article could be more properly renamed Electronics and popular music; the term Electronic art music is not largely used as it is believed here at Wikipedia, indeed, that article's main source (see Talk:Electronic art music) refers to its subject as electronic music; this is blatantly true. Oh, soon the mastodonts will shout, poor creatures....--Doktor Who 22:16, 12 April 2007 (UTC)
 * In my opinion, most of the content in Electronic art music should be moved out into History of Electronic Music. Even everywhere I read, there is really no such thing as "electronic art music". Electronic music in itself summarizes everything that we talk about. -asmadeus 11:40, 13 April 2007 (UTC)
 * I would agree, but the it is true that both academical and experimental forms are still produced nowadays (not mentioning that several "giants" such as Stockhausen, Boulez and others, are living persons); there is too much confusion and overlapping of meanings among Electronic music, Electronic dance music, and Electronica, so I think that we need to co-ordinate the work of many editors and maybe create some sort of disambig pages. --Doktor Who 11:54, 13 April 2007 (UTC)
 * I moved electronic art music to History of Electronic Music. I redirect Electronica to Electronic Music. Someone reput Electronica back, reason is "lost material", it is full of OR, no sources, no lost material. Please support me. I believe some OR opinions are defending their OR with ownership --Susume-eat 07:10, 17 August 2007 (UTC)

Foreign language links
Foreign language links are usually inappropriate for the english language wikipedia. An inter-wiki link to the french article is fine. See Manual_of_Style_(links) and External links. ∴ here…♠ 18:56, 4 June 2007 (UTC)

 * I quote from your link: when linking to pages with maps, diagrams, photos, tables; explain the key terms with the link, so that people who do not know the language can still interpret them. The sonhors site offers a rather extensive collection of history on those old electronic instruments. I have used it more than a year ago as one of the primary sources for articles here and on other wikipedias. At least, it offers extensive historical information on the subject, something other external links like really fail to do. (I'm glad most of the spam to all sorts of modern music forums has been removed the last couple of months anyway) --LimoWreck 19:13, 4 June 2007 (UTC)

I agree with Here's comments about the foreign language links. Most readers of the English Wikipedia cannot use that informtion, and it's distracting. That said, if the link is strongly relevant and there are not English resources that can be used, then it would be OK. But in this case there's lots of information available in English on this topic. Also as Here noted, an interwiki link to the the French article would be appropriate, but in this case I visited the French Wikipedia and could not find a link to that website even there. I don't read much French, but enough that I could review the related articles to look for it.

So, I concur with Here's removal of the re-added link.

On the other hand, I also agree with Limowreck that spam links have been a problem in this article. And in particular, I agree that the synthtopia link is a commercial website and does not provide valuable information for Wikipedia, so I have deleted that link. --Parzival418 Hello 19:33, 4 June 2007 (UTC)

 * OK. I still think it's a shame you guys keep removing the really on-topic (albeit french) link, but as I found the same link on the middle of the screen of one of the English links that is kept, I hope interested readers will find their way to the article ;-)
 * Bu the way: although I personally find the link very relevant (and french is not my native language ;-) ), I'm glad to see people actually pay more attention to cleaning up those huge dumps of links in the English wikipedia. Those were (and still are) almost a plague on the English WP. Other language wikipedia's have been keeping the external links to a minimum for a long time, and I'm glad more people on the English wikipedia keep an eye on those now. Regards --LimoWreck 21:12, 4 June 2007 (UTC)

Request for Comment: Merging/redirecting Electronic Music articles (closed)
{| class="collapsible collapsed" style="width:100%;font-size:88%;text-align: left; border: 0px; margin-top: 0.2em;" ! style="background-color: Thistle;" | previous RFC topics - closed with consensus to keep separate articles There is discussion about redirecting or merging Electronica to this article at Electronic music.
 * style="border: solid 1px #Indigo; padding: 8px; background-color: Lavender;" |
 * style="border: solid 1px #Indigo; padding: 8px; background-color: Lavender;" |

The discussion is at this link: on the Electronica talk page.

An editor has stated the intention to make this change quickly, so if anyone wants to enter comments, now would be the time. The editor has already moved Electronic art music to Electronic music (classical) without consensus or wider discussion.

I am posting this as a neutral Request for Comment without involving my own opinions on this, to invite editors from related music pages to participate in the discussion. --Parsifal Hello 06:23, 18 August 2007 (UTC)

 * I fully support such changes, Susume-eat is making a great, wonderful job here. Parsifal, please do not revert, --Doktor Who 09:28, 18 August 2007 (UTC)

 * Doktor Who, I do not plan to do unilateral reverting. I am simply inviting people to participate in the discussion.   --Parsifal Hello 09:37, 18 August 2007 (UTC)

Update
After the above post, the editor redirected both Electronica and Electronic dance music to Electronic music (dance & popular), causing the two separate topics to be merged in a confusing way.

Those changes were reverted by several editors, according to consensus, as of the time I write this. Of course, that might change again, so you may find the discussions at any of those page titles.

The above discussion has since been closed with clear consensus to keep the separate article title Electronica. Parsifal Hello 03:17, 21 August 2007 (UTC)

 * }
 * }

Currently, there is a discussion about the content of the Electronica article on its talk page, here. Comments invited. --Parsifal Hello 19:37, 25 August 2007 (UTC)

New merger proposal

 * The suggestion is to merge Electronic art music with Electronic music. In academic literature on the subject there is no distinction made, so why is Wikipedia taking it upon itself to establish this category when there is a significant body of academic work on electronic music that does not fit with this view. It is in some sense suggesting that other types of non-art electronic music cannot be considered art, this is elitist, especially when various so called vernacular electronic music varieties are now receiving serious academic attention . In actuality, Electronic music and Computer music should probably be merged, and then both of these merged with Electroacoustic music, but I don't see that happening. Yes, there is some dispute with regard to the use of the term electroacoustic music, but it is, all things being equal, a very useful term, and one that has established itself in the serious music world (so called).I simply question the wisdom of inventing terminology or of using Wikipedia to question established modes of use. Many of these efforts to redefine subject matter might technically be considered WP:SYN or even WP:OR and are therefore questionable in the context of encyclopaedic use.Semitransgenic (talk) 13:21, 21 May 2008 (UTC)

 * I trust you have read the long and sometimes acrimonious debate on Talk:Electronic art music concerning the title Electronic art music and the changes it has had. IIRC, this merger was proposed somewhere in that discussion, and the consensus was to keep the articles separate. As to the question of "no distinction" being made in the academic literture, you may wish to consult Talk:Electronic_art_music, where editor Parsifal mentions providing references to this distinction, which are to be found in footnotes 1–4 of that article.—Jerome Kohl (talk) 17:39, 21 May 2008 (UTC)

 * gotta agree totally with semitrangenic here on the points. EAM should be written into EM. BUT i know i dont want to do it personally 'cos it's annoying to merge articles. the argument is right but it will never get done due to our inherent lazyness as editors rofl. ps the discussians of parcifal and susume eat cranks on electronica is beyond belief............ get a life Ceasefire joanne (talk) 09:22, 24 June 2008 (UTC)

 * indeed I have seen the discussion, but I don't see any genuinely good reasons to avoid a merger. The referenced items you mention do not support the notion of there being a clear demarcation between EAM and EM, one (Allen) supports the view raised above. Ben Neal (2002) in Leonardo Music Journal adds further support to this. There are many references to electronic art music in various notable sources dating back some time but from what I see it is used to distinguish art music (the acoustic tradition) from EAM, not EM from EAM. Simon Emmerson (2007) also discusses EM, electronica, etc. in the same light as EM that some might want to call EAM. On the whole the trend seems to be towards inclusivity. The other reference, from Wilson, on the EAM page, deals with the relevance of historic EAM music in this day and age, it is not setting out to distinguish EAM from EM.Semitransgenic (talk) 19:21, 21 May 2008 (UTC)

 * Emmerson (2001): The relationship between “art” musics and vernacular (or “popular”) musics in Western society is complex and has a long history. From engagement and synthesis to incomprehension and antagonism, this relationship has reflected larger social trends—themselves the product of economic and technological change. Within this continuity, there are periods of intensified exchange. In the 1920s, for example, it centered on jazz, but in the 1990s the picture was not so clear. There is a cautious consensus that in the 1990s, there was a profound difference: art music itself appeared to be increasingly isolated as a minority interest (an old argument to be sure, but increasingly highlighted). Another major contribution to this polemic has been the ever-increasing access to sophisticated tools for music production that computer technology has enabled.

 * Chadabe (2000): Aristocratic culture, traditionally based on exclusive knowledge and skill, is now changing, and computer music is changing with it. It is well understood that by providing universal access to knowledge that earlier was available only to an educated few, technology is having a democratizing effect in the world. What is less well understood is that technology can allow a member of the public to interact in a sophisticated and creative way with a musical process, even without previously acquired musical knowledge or skill...Computers, in other words, are not surrogate violins. They are interactive devices. Consistent with general technology-driven changes in the world, computers give us an opportunity to democratize high-art music by making it participatory, and, as a normal consequence of participation, to expand the aristocratic culture so that it is no longer aristocratic.

 * Neal (2002) quoting Chadabe: Indeed, the protective parapet that has long kept high art and popular art mutually exclusive seems to be showing signs of vulnerability. It seems that we are about to enter a new cultural architecture that we cannot yet describe; yet we are aware that technology is changing the world and that it will also change the world of computer music.

 * Travis (2007), referenced on the EAM page: ''Both electronic dance music (EDM) and electronic art music (EAM) draw from a similar lineage and trace their history to the early pioneers of electronic music such as Pierre Schaeffer, Edgar Varese, Karlheinz Stockhausen, and Morton Subotnik. Scholarship has recognized this legacy by linking both EDM and EAM to these early innovators.

 * Neal (2002): The division between high-art electronic music and pop electronic music is best defined in terms of rhythmic content. Pop electronic music uses repetitive beats, primarily in 4/4 time, but a new generation of composers is working within that structure to create what is essentially the new art music. This phenomenon is an out-growth of such historical currents as minimalism and postmodernism, along with the continuing development of a global technoculture, it is part of a larger cultural shift in which art is becoming more connected with society rather than being created by and for specialists. This positive development is being accelerated by the rapid evolution of new technologies for producing and reproducing music today, as well as by new possibilities for distribution and dissemination of music electronically.

 * Cascone (2000), discussing post-digital aesthetics: Most of the work in this area is released on labels peripherally associated with the dance music market, and is therefore removed from the contexts of academic consideration and acceptability that it might otherwise earn. Still, in spite of this odd pairing of fashion and art music, the composers of glitch often draw their inspiration from the masters of 20th century music who they feel best describe its lineage.

 * Emmerson (2001):All artists have a point of view and cannot feign objectivity. It is paradoxically by understanding history, stripping it away, and reconfiguring the argument in contemporary terms that we may stop “defending” art and move to a clearer advocacy of its contribution to society: “Art is dead! Long live Art!” Semitransgenic (talk)'' —Preceding unsigned comment added by Semitransgenic (talk • contribs) 19:49, 21 May 2008 (UTC)

 * It should also be noted that it states on the EAM page: Much of the above text was originally published as part of Doctoral Dissertation titled Electroacoustic Music for the Flute. Nowhere in this dissertation is the term electronic art music used.Semitransgenic (talk) 11:35, 24 May 2008 (UTC)

 * I think Electronic Art Music is the best name. Everyone's entitled to their opinion after all. The "Art" part makes it more elegent. Only us brighties can enjoy Stockhausen, while the lamers of the world can only enjoy Trance Hits. We need to mark the difference, between us elites and the lowers such as the working class. Bring out as many quotes as you please, we all know what is truly best for the music. I would have thought Electronic Music could describe everything, but we need to show the difference between the elite and the proles. This is the best compromise. Please don't push this any further. I would hate to see the art removed, wherever it originated from, it's too gorgeous. —Preceding unsigned comment added by Yamaha303 (talk • contribs) 12:58, 25 May 2008 (UTC)

 * Your comments do not help the position you are presenting. Please refrain from deleting discussion entries. Semitransgenic (talk) 13:41, 25 May 2008 (UTC)

 * Only a pleb would even dream of ruining the article's name. How are you going to merge the articles? It would take so much of our hard work and time. What a waste. Bad idea - no merge. Art is artJane Breasts (talk) 15:02, 25 May 2008 (UTC)

 * Are you friends with Susume Eat? Jane Breasts (talk) 15:02, 25 May 2008 (UTC)

 * I am friends with no one. Please do not confuse this action with petty tribalism. And please stick to real discussion. Also please comment using correct chronology. The merger is easy. Much of the content is poor and has more in common with the Electronic musical instrument article. There is significant overlap across the three aforementioned articles. Semitransgenic (talk) 16:32, 25 May 2008 (UTC)
 * I like your writing style. It's pithy, piercing, and straight to the point. Where did you pick it up? If you're willing to do the merge yourself, I suggest preparing the merge, posting it as your user page, and then showing it to us. I think the quality of the merge could be good, yet I'm still not convinced about dropping the name art. I like it too much. Perhaps it is a bit snobby though. This is website for everyone, not just arty farty types like myself. Jane Breasts (talk) 19:00, 25 May 2008 (UTC)

 * The following comment was posted on my user page, it should have been directed here Semitransgenic (talk) 08:52, 26 May 2008 (UTC): Don't you dare merge Electronic Art Music with Electronic Music. We came up with the "art" name fair and square. Now real life books and articles are starting to use EAM because of our work here on this page. We are using wikipedia to change the world and revise history to a better view. Please don't interfere or question us. Who cares if people and the media only use phrases like Electronic Music or Dance Music? This is our encyclopaedia, written by us. As long as we can find a written article in a publication to back us up, there's no problem! Electronic Dance Music and Electronic Art Music - we invented it and we're proud. Please don't turn this into another Space Music or Alice Bailey. Thank you for stepping down and stopping from pursuing this move any further, it will be appreciated. —Preceding unsigned comment added by Yamaha303 (talk • contribs) 10:49, 25 May 2008 (UTC)

 * The terms Electronic dance music and electronic art music were not invented by wikipedia editors. Please keep the discussion directed at the issue of demarcation, as outlined above. Semitransgenic (talk) 09:02, 26 May 2008 (UTC)

 * Go ahead. Mansour Said (talk) —Preceding comment was added at 19:36, 26 May 2008 (UTC)

Computer music merge
throwing this out there for the sake of getting opinions. Is CM an anachronistic term, isn't electronic and computer music essentially one in the same at this stage? Is computer music simply a historic sub-category of electronic music? In academia the distinction is clearer, but the use of computer technology in music creation is now almost ubiquitous in the popular music domain so what distinctions should be made here? From a practical stand point the Computer music article has not been expanded or improved greatly over time so it may function more effectively as a sub-section within the electronic music article. Semitransgenic (talk) 12:10, 9 July 2008 (UTC)
 * merge imo. —Preceding unsigned comment added by 202.215.53.124 (talk) 04:19, 10 July 2008 (UTC)

 * no merJ. Computer music is strictly dijital, that is through fingers and scripts. IOW, sampling devices and analog transforms (recording your sound card's mix of a digi-wave with radio, for instance) are excluded. BrewJay (talk) 05:36, 10 July 2008 (UTC)

 * I agree with BrewJay; Computer Music implies something akin to Ableton Live, while Electronic Music is much more broad. --TMC1221 (talk) 06:25, 10 July 2008 (UTC)

 * But isn't a computer an electronic device? Computer music strictly digital? But how can you have digital processing without electronic hardware? (CPU, motherboard, RAM, etc.) and once it leaves a DAC, and is routed to a loudspeaker, isn't the net result the same? Semitransgenic (talk) 09:34, 10 July 2008 (UTC)

 * Electronic Music is a much broader term than computer music, it includes computer music but is not exclusive to it. Electronic music predates the invention of the personal home computer and music applications. The invention of the computer has had unquestionable impact in the expansion and growth of electronic music which only justifies and strengthens the existence of a distinct computer music article.Elmedio (talk) 18:30, 29 July 2008 (UTC)

 * I must disagree, to the extent that electronic music does not include all computer music. For example, the pioneering work of Lejaren Hiller includes works composed by computer, but for performance by human players. The Illiac Suite for string quartet is the best-known example. Another case is Trimpin, who uses computers to control entirely acoustic sound sculptures. It would be absurd to discuss computer music like this in an article on electronic music.—Jerome Kohl (talk) 20:15, 29 July 2008 (UTC)

 * But isn't the Hiller work an example of computer assisted composition? When academics use the term computer music are they referring to digital music or just any type of music that incorporates some element of computer technology in its production? Trimpin can do what he does - and maybe at one time he did - using a hardware based MIDI sequencer; a computerised MIDI sequencer simply takes some of the labour out of the task. But this leads into the issue of popular music, the majority of it is created using computers, but I don't hear any academics calling it computer music. Also, there is a mainstream magazine called Computer Music which deals entirely with popular music production techniques. So really, I'm just curious if it's any longer valid to call it (that is essentially electronic, or electro-acoustic) computer music, it seems somewhat anachronistic to me. Semitransgenic (talk) 10:54, 31 July 2008 (UTC)

 * If you like, you could call the Illiac Suite a computer-assisted composition but, to answer your second question, in my experience academics do commonly refer to it (and other pieces composed using computers, with or without digital or analogue electronic sound generation) as "computer music". I don't understand your question about Trimpin, and I would like to see some data justifying your claim that the majority of popular music is created using computers (you may be right—I'm just a little taken aback). As far as I am aware, academics do in fact include popular-music genres in their discussions of computer music, so long as computers are involved. Skimming through the tables of contents for recent issues of the Computer Music Journal, for example, turns up some articles specifically focussed on jazz or pop (vol. 32/2, 32/1, 29/3, 28/3, etc.), though the great majority are technique-oriented and do not point at any particular style or genre. Reviews in nearly every issue include popular-music genres. It sounds to me as if you may be confusing means of sound production with compositional genre.—Jerome Kohl (talk) 18:52, 31 July 2008 (UTC)

 * Trimpin could accomplish the same results with something like a Roland MC-50, if it's simply a matter of MIDI sequencing, a computer is not necessary, that's really all I was pointing out. The majority of commercial recording studios use a DAW, once material is recorded, editing, and in many cases audio manipulation, happens in the digital domain, technically it may be computer assisted composition, but the entire production regime, from recording through to mastering, is now computer dependent. I'm not confused regarding means of sound production and genre naming, that confusion exists, and is part of the problem associated with deciding what to call this, that, or the other. The term "Electronic music" once related specifically to means of production, now it largely refers to a genre of music, yet that is not clear either because many genres of electronic music exist. So is computer music a genre or a term that relates to means of production? Semitransgenic (talk) 20:47, 31 July 2008 (UTC)

 * I don't understand how Trimpin could manipulate his sound-sculptures with a Roland MC-50, but perhaps you are right. This does not change the fact that he uses computers, however. There is also the issue, I suppose, of where to draw the line between a digital synthesizer and a computer, but I will leave that to more expert minds. It may be true that there is now a genre called Electronic Music but, if so, I am not aware of it. On the other hand, I am quite familiar with a vast quantity of music in many genres that employ electronics, and which people conventionally describe as "electronic music". Consequently, I would have to say that the term applies chiefly to the means of production. The same is true of computer music, perhaps even more emphatically.—Jerome Kohl (talk) 21:21, 1 August 2008 (UTC)

 * I tend to agree, but I also get the impression confusion still exists, particularly in the popular domain. Regarding Trimpin, from what I've read here, he has used standard MIDI sequencing software for a number of his works; an MC-50 can do basically the same but is obviously extremely limited in comparison. How would you feel about possibly renaming the article 'Electronic and computer music', after Manning, that way any confusion that might exist can be put to rest. Semitransgenic (talk) 16:28, 2 August 2008 (UTC)

 * There is always confusion. It seems to me that one purpose of any reference, including Wikipedia, is to help remedy confusion and clarify distinctions. I don't think that renaming or combining these articles is a good idea at all, for reasons I have already stated. At some point, distinctions have got to be made, and I think the present distinction is a good one. Otherwise, where do we stop? Merge all music topics into a single article titled "Music"?—Jerome Kohl (talk) 22:05, 3 August 2008 (UTC)

 * a single article entitled music? hardly. However, in relation to the following items: Computer generated music, Computer-Aided Algorithmic Composition, Computer assisted composition, all are simply subsections of Computer music and in my opinion should be contained in one complete article, rather than having multiple stubs, or otherwise incomplete articles. Such entires currently serve specialist audiences only. At least if everything is in one place when a reader goes to computer music they will be exposed to other relevant information without having to click through three pages to get a complete overview.This is simply an ideological difference with regard to the use of mergers. Semitransgenic (talk) 08:51, 4 August 2008 (UTC)

 * I had no idea that these three articles existed, and I would support the merger of them into the main Computer music article.—Jerome Kohl (talk) 16:54, 4 August 2008 (UTC)

The Electronic music article needs to be fixed
Who messed this article up? Somebody needs to fix it. And, redirect electronica and electronic dance music to electronic music. It's all the same thing. Auto Racing Fan (talk) 15:35, 18 August 2008 (UTC)

It is not the same however, that such branches are part of general Electronic Music is correct GtRyz (talk) 01:08, 23 September 2020 (UTC)

Scott's Device?
In the first part of the article, it compares Edison's invention with Raymond Scott's in the use of cylinders. If anyone knows which one it is, please put in the necessary explanation/hyperlink, I'm curious. --JDitto (talk) 16:24, 22 August 2008 (UTC)
 * Well spotted! It looks like a preceding sentence must have been deleted, but can't find the missing information anywhere in the edit archive back as far as January 2007, so it has been gone a long time. It is doubly confusing because of the mention later in the article of Raymond Scott, and a photograph of his 1971 Electronium. The Scott meant here is Édouard-Léon Scott de Martinville, who invented a machine for visually recording sounds in 1857. I will se what I can do to repair this one small blotch in a blotch-ridden article.—Jerome Kohl (talk) 16:47, 22 August 2008 (UTC)

Lede
The following is largely erroneous and not supported by the citation provided: Today, the term electronic music serves to differentiate music that uses electronics as its focal point or inspiration, from music that uses electronics mainly in service of creating an intended production that may have some electronic elements in the sound but does not focus upon them. Semitransgenic (talk) 17:24, 22 August 2008 (UTC)
 * You are quite right. I would suggest replacing the dodgy claim with the quotation now in the footnote. Either that, or just eliminate the sentence and its non-supporting citation.—Jerome Kohl (talk) 17:30, 22 August 2008 (UTC)

 * I've just reduced the material in the lede to the bare essentials for the time being, to avoid potential confusion, can be adjusted to reflect the rest of the article, as it develops. Is the electromechanical/electronic instrument distinction really required? Semitransgenic (talk) 17:59, 22 August 2008 (UTC)

 * Paring down the lede sounds like a good plan to me (though there is still a lot of the clutter in the footnotes—my rule of thumb is, "if it is important enough to keep, it is important enough to have in the main text"). I personally would like to keep the distinction between electromechanical instruments and instruments which actually generate sound with electronic circuitry.—Jerome Kohl (talk) 23:08, 22 August 2008 (UTC)

 * Ok. The distinction will ideally need to be outlined more clearly in the main body of text if it is touched upon in the lede. Right now it's not overtly stated, electromechanical instruments are featured as precursors to the first electronic instruments but the issue of distinction is not raised, and it is not something non specialist readers will be clear about. This may also be an issue when covering musique concrete. Semitransgenic (talk) 12:46, 23 August 2008 (UTC)

Image copyright problem with Image:Electronium.jpg
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Image problem
I contest vividly the image used by the paragraph "The 2000s" and labelled as "a performance using electronic instruments"; although the labelling is vague enough, the image clearly depicts a deejay mixing MP3s with his laptop and also CDs using a simple audio mixing board and 2 Pioneer CD players, so it cannot be representative of anything in this article. —Preceding unsigned comment added by 94.161.177.141 (talk) 12:50, 12 October 2008 (UTC)

Electronic music regional national scenes
Currently, the article, and Wikipedia in general, doesn't say much about this matter. The only exceptions I've come across are these pages: German electronic music, Suomisaundi. Since the '80s there have emerged many regional scenes (especially in Europe) of various forms of electronic music, so "localized" info describing them is needed. If this is thought to be far beyond the scope of this article, I'd propose to create a template called "Electronic music around the world" (compare with : "Punk music around the world") and articles on each notable scene be created as part of the a "providing content to the template" project. Omnipedian (talk) 05:52, 24 December 2008 (UTC)

Written by grandpa?
Is this article written by senior citizens? 'Electronic music is so popular today that it is even played in nightclubs', by god, this happened in the 70's! Almost all music in nightclubs is completely electronic apart form the vocals. Also, 'advances in microprocessor technology increased viability of digital music production', what? 'advances in microprocessor technology', another sentence from the 80's, this stuff is laughably out of date and supplies us with no real information.

I'm also very much in favor of a page or section dedicated to 'electronic music around the world' as the above commenter suggests; I'm personally from Europe and there's indeed many, very interesting and potent regional sounds that deserve attention. A lot of stuff now going strong in Europe has it's roots in the US; techno, hiphop, house all emerged from there, so I presume there's still something interesting going on Statesside as well? —Preceding unsigned comment added by 146.50.144.73 (talk) 19:18, 20 December 2010 (UTC)

Absolutely horrible article, just the history is covered, what about the genres? the sound? examples? famous groups? 80.219.20.147 (talk) 11:47, 7 February 2015 (UTC)

 * Thank you for your opinion of our hard work. I trust you are prepared to improve on it, since you have so many suggestions. There is such a large number of genres that they get a whole separate List of electronic music genres. This is linked from this article in the "See also" section. You must have overlooked it. Are there any "famous groups" these days that are not electronic in some way? This would have to amount to a list of thousands. I don't understand your other questions. What is "the sound" of electronic music, and how can it be described? What sort of examples do you have in mind: links to audio samples, or lists of pieces? There are apparently some audio samples at Wikimedia Commons (linked at the bottom of the article). While it is true that only a few titles are already mentioned, again because of the ubiquity of electronics in music since about 1980, thousands of titles could be added, but an indiscriminate list would scarcely be helpful. Where do we draw the line?—Jerome Kohl (talk) 00:27, 8 February 2015 (UTC)

Electro by Autopilot
Is there a page for the following music: -Elctro by Autopilot -Helium Disco by -Unknown-

Darkened wiki (talk) 16:19, 31 August 2011 (UTC)

Electronica by Plague Doktor
Is there a page for the following music: -Electronica by Plague Doktor -Electronic music composer St. Richard — Preceding unsigned comment added by 50.239.8.90 (talk) 19:04, 15 March 2021 (UTC)

Italians
This article is totally misleading and poor. Where are Luciano Berio, Bruno Maderna, Luigi Nono, the experience of the Studio di Fonologia Musicale, in Milan, in the fifties? — Preceding unsigned comment added by 87.7.161.28 (talk) 18:10, 6 May 2012 (UTC)
 * If you are suggesting that all of the current content of the article should be deleted in favour of just Italian composers of the 1950s, I believe you will meet with a certain amount of resistance. On the other hand, if the article is so "totally misleading", surely there must be a lot more wrong with it than just this one tiny detail which can, after all, easily be remedied. Apart from Italy (though Nono's electronic music was largely produced in Germany), it seems there is almost nothing on the very important activities in Stockholm, and not one Swedish composer is named. Poland is also conspicuous by its absence, and yet the Warsaw studio was as important in the 1950s and 60s as the Studio di Fonologia. This should be enough to be getting on with, so far as omissions are concerned. Now, in what way do you find what is here "poor"?—Jerome Kohl (talk) 22:06, 6 May 2012 (UTC)

2000s?
Er... Why are "chiptunes" listed in the 2000s? This is something we did in the 80s and 90s; it has just recently gone through a retro-trend phase, to be sure, but it is certainly not a new innovation of the 2000s. 174.53.187.118 (talk) 17:53, 28 May 2012 (UTC)

Popcorn was a huge early electronic hit song and should be mentioned in the article
http://www.popcorn-song.com/origin.php — Preceding unsigned comment added by 99.63.172.56 (talk) 23:14, 27 June 2012 (UTC)
 * Is it rock music?--  SabreBD  (talk ) 23:37, 27 June 2012 (UTC)

No, it's 100% electronic music. If you follow the link above you can hear the original version from 1969 and all the many many remakes of it that were made, because it was very influential. That link also has tons of history on it. It was a very important piece in the history of electronic music. — Preceding unsigned comment added by 99.63.172.56 (talk) 05:18, 28 June 2012 (UTC)

To make it even more clear, there are literally like 100 remakes of this song that've been made over every decade since it was originally released in 1969, including new versions that modern electronic artists are still making today in the 2010s! This includes remakes of it by electronica superstars like Aphex Twin, and pop music superstars like Ben Folds. If that's not massively influential, then *nothing* can be considered influential. This song is as influential as it gets.

http://www.popcorn-song.com/versions.php — Preceding unsigned comment added by 99.63.172.56 (talk) 05:28, 28 June 2012 (UTC)

Popcorn was the first primarily electronic-based music to ever get on the American popular music charts, peaking at #9 on the Billboard Pop Singles and #4 on the Adult Contemporary Chart.

In France, "Popcorn" is the 131st best-selling single of all time, with about 900,000 sales.

Popcorn hit number #1 on the charts in Germany, Australia, Switzerland, Norway, the Netherlands, and it hit #5 in the UK, and #15 in Canada.

... clearly and obviously this was and is a very influential song in the history of electronic music. But if you need even more evidence on top of the mountain I already provided, then just let me know and I'd be happy to make this huge mountain of evidence into a Mount Everest of evidence. — Preceding unsigned comment added by 99.63.172.56 (talk) 06:00, 28 June 2012 (UTC)

Dubstep?
Should dubstep be added to the list? as I understand that it usually uses synthetic instruments. — Preceding unsigned comment added by 90.222.206.170 (talk) 20:23, 25 April 2013 (UTC)

Audio clip
I really think we should have an audio example in here somewhere of what electric music sounds like. (That's what I came here looking for.) Is it just an issue of finding electronic music that isn't copyrighted already? -TeragR (talk) 16:51, 10 June 2013 (UTC)
 * That would not be very different from putting one audio clip on the Music article to illustrate what music sounds like! Perhaps it would be useful to put in a number of different sound clips to illustrate the variety of different musics that have used electronic generation. This might run into the copyright issue you ask about, but in many important areas it would also come up against the problem of finding any examples at all. To take one instance from near the beginning of the article, there are no recordings so far as I am aware of a Telharmonium (though if I am wrong about this, someone please correct me, because I would love to know what that behemoth actually sounded like). On the other hand, assuming the copyright problem could be averted it would probably require close to a hundred different examples to represent fairly the different kinds of electronic music just from the second half of the 20th century. Indeed, the "Electroacoustic tape music" and "Musique concrète" sections would need at least half a dozen examples each, just to give a rough idea of the different genres and styles found using these techniques in the 1950s alone.—Jerome Kohl (talk) 21:14, 10 June 2013 (UTC)

Electronic music phylogeny (genealogy)
Hi,

I've made this comprehensive "" of electronic music genres and sub-genres.

By creating an image map, every genre box could link to a wiki article and "play" buttons would be links to a song example of each genre.

What do you think? Would it be useful in this article?

Arthurpeace (talk) 20:48, 29 September 2013 (UTC)

Where's Giorgio?
Not a single mention of Giorgio Moroder? That's weird, he's considered one of the most important pioneers in electronic music. 87.64.124.240 (talk) 23:17, 25 February 2015 (UTC)

 * If you have got a reliable source that says so, then by all means add something about him. To judge from his Wikipedia article, I would say he is a bit young to qualify as a "pioneer" alongside Martenot, Theremin, Bode, Henry, Schaeffer, Eimert, Stockhausen, Xenakis, and the rest, but I am not a reliable source, am I?—Jerome Kohl (talk) 00:07, 26 February 2015 (UTC)
 * The only true pioneer you've listed is Theremin. Maybe we can include Henry/Schaeffer to be pioneers if tape-sequenced clips of birds and trains are considered electronic music. It's almost a tragedy that this article makes no mention of the creators of graphical sound in the early 30s (e.g. Avraamov, Voinov), relegates Louis and Bebe Barron to an oft-hand mention, and seems to consider Kraftwerk as an inconsequential krautrock band. It sounds like you hadn't even heard of Giorgio Moroder, essentially the inventor of electronic dance music. It seems we've taken the arrogant self-importance of the avant garde and misinterpreted it to be real importance. I assume any overhauls I make, no matter how many citations, would be reverted. --202.175.135.150 (talk) 21:32, 20 August 2015 (UTC)
 * You are perfectly correct: I have never heard of Giorgio Moroder. If your sources are good, then of course no one can possibly object to your adding something about him. I am a little startled to learn that electronic dance music actually dates back to the "pioneer" period as you define it (pre–World War II), but one of the great joys of regular visitsto Wikipedia is that one is always learning something new. For what it's worth, Martenot and Bode worked in your "pioneer" era as well, though the textbooks conventionally include the early tape-music period of the 1950s. As for the "arrogant self-importance of the avant garde", very few composers working in the field before 1960 (including the Barrons) could not be described under that rubric. While you are about it, why don't you add something about Avraamov and Voinov—two more names that mean nothing to me (nor, apparently, to any of the dozens of other editors who have worked on this article). Electronic music is a huge topic, and few who have not made it their special area of study can expect to have a comprehensive view of it.—Jerome Kohl (talk) 23:06, 20 August 2015 (UTC)
 * For convenience: Giorgio Moroder; Arseny Avraamov; Nikolai Voinov is mentioned in Variophone and there's an article about him at ru:Воинов, Николай Васильевич (he's widely associated with "paper sound"), see also this blog about "visual music". -- Michael Bednarek (talk)
 * Thanks, Michael. It looks like Evgeny Sholpo also deserves to be mentioned as an early pioneer, though he has not got a Wikipedia article yet—not even on Russian Wikipedia, as far as I can tell.—Jerome Kohl (talk) 17:12, 21 August 2015 (UTC)

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Nomination of Portal:Electronic music for deletion
A discussion is taking place as to whether Portal:Electronic music is suitable for inclusion in Wikipedia according to Wikipedia's policies and guidelines or whether it should be deleted.

The page will be discussed at Wikipedia:Miscellany for deletion/Portal:Electronic music until a consensus is reached, and anyone is welcome to contribute to the discussion. The nomination will explain the policies and guidelines which are of concern. The discussion focuses on high-quality evidence and our policies and guidelines.

Users may edit the page during the discussion, including to improve the page to address concerns raised in the discussion. However, do not remove the deletion notice from the top of the page. North America1000 11:53, 25 May 2019 (UTC)

Dub
I have huge issues both with the definition of dub as a variety of electronic music and with the section describing it here, which I will reproduce so that I can make my points more clearly:

''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.

''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''

1. Dub as we know it with use of echo, equalisation etc. didn't emerge in the 1960s. Dub plates with some or all of the vocal track removed to facilitate a deejay talking/chanting/toasting over the recording in a dance but with no other effects originated c. 1968-69. The use of more obviously creative "dub" effects evolved in the early 1970s.

2. "producing reggae-influenced experimental music with electronic sound technology". Dub (in its original 1970s Jamaican iteration) wasn't "reggae influenced" - it was reggae, with a more creative mix. Pure and simple. And in terms of "electronic sound technology", the vast majority of 1970s Jamaican dub simply used the mixing desk with echo, reverb and equalisation effects. While these devices are undoubtedly electronic, they were also used - usually in a more restrained style - in the straight vocal versions that most dub tracks were mixes of. Which rather begs the question of where do you draw the line? Nearly all popular music played on electric and/or acoustic (i.e. non-electronic) instruments uses these and other electronic technology. Amplifiers contain electronics.

3. "Their experiments included forms of tape-based composition comparable to aspects of musique concrète" Not usually they didn't. This isn't an argument for dub being electronic music.

4. "electronic manipulation of spatiality". Panning. Again, something that's present on pretty much every stereo recording of popular music, it's just a matter of degree. And a large proportion of 70s dub is mono.

5. "the sonic electronic manipulation of pre-recorded musical materials from mass media". The exact meaning of this sentence isn't entirely clear, but if it means interpolating bits of unrelated recordings into a dub mix, it's another rare exception that doesn't define dub and isn't an argument for it being electronic music.

6. "deejays toasting over pre-recorded music comparable to live electronic music". What does this even mean?

7. "turntablism, and the mixing and scratching of vinyl". Yet another rare exception in 70s dub music - I've never heard scratching in 70s dub, and very rarely interpolations of music from another record.

8. "their experiments in remix culture were musically cutting-edge". I don't dispute for one moment how musically cutting-edge they were. But what is an "experiment in remix culture"?

While dub has hugely influenced much electronic music and in some cases, especially later on, is electronic music because it features electronically generated sounds, the 1970s Jamaican music that defined dub in the first place is in nearly all cases no more electronic than the vocal versions that most dub tracks are remixes of. I can't see what makes, for example, "King Tubby Meets Rockers Uptown" by Augustus Pablo electronic when the vocal version of the same recording, "Baby I Love You So" by Jacob Miller isn't. They were both mixed in King Tubby's studio by King Tubby on the same equipment. Neither features any electronic instrumentation or tape manipulation, so such electronic equipment as was used in the creation of the former was used in the creation of the latter - which isn't considered electronic. Either they both are or neither are. The implication of the inclusion of dub as a variety of electronic music is that the use of a mixing desk, reverb, eq and other effects makes it electronic, but this is common to nearly all popular music - the only difference with dub is one of degree and intent and the dividing line is extremely diffuse if not impossible to define clearly. I think this section should be removed.Freewheeling frankie (talk) 19:11, 15 August 2020 (UTC)

 * yes, valid remarks, said content is badly written and inaccurate, needs to be addressed, didn't spot it when added, will update soon, unless someone else does so first, please feel free, there's a good book by Michael Veal which could be cited here. Acousmana (talk) 21:38, 25 September 2020 (UTC)

Shortened the lead
I shortened the lead. Most of the paragraphs were about the historical development of electronic music. I summarized the content in one paragraph and move some sentences to its historical section. However, most of them were already covered. --Thevictorator95 (talk) 02:33, 15 February 2021 (UTC)
 * Sorry, per MOS:LEADNO, but this is an inadequate lead, oversimplification, ignores historical development in favor of recentism. Per MOS:LEAD, don't see what the problems is, lead length is fine relative to article detail. Acousmana (talk) 12:27, 15 February 2021 (UTC)
 * I've made an attempt to shorten and tighten lead, article covers a lot of ground, ideally we want to touch on the most important aspects in the lead without rambling. Acousmana (talk) 11:55, 18 February 2021 (UTC)

Biased?
One gets the impression from this article that, following the 1960s, all formal and classical electronic music and composition ceased, and for the next 50 years everything done in electronic music was pop, dance, and mostly keyboard-based instruments. This is a very one-sided -- and not at all accurate -- portrayal of electronic music.

Also, more of a distinction could be made between "music played on electronic instruments" (e.g., "Switched-on Bach" or any number of pop/dosco bands", and "electronic music" (e.g. music composed specifically for, and only playable (in original form) on electronic instruments). — Preceding unsigned comment added by 74.95.43.253 (talk) 19:59, 15 March 2021 (UTC)
 * it's not intentional, simply the way the article has been haphazardly pieced together over the years, but you are welcome to contribute, and help flesh out the academic/institutional advances that took place in the same period - note this is touched on, but not detailed to the extent you suggest. Some of the articles that are linked in the main body (computer music, algorithmic music, live electronics etc.) also provide additional context. Acousmana (talk) 20:40, 15 March 2021 (UTC)

Is this just an umbrella term?
On List of electronic music genres, it says "...consisting of genres of electronic music, primarily created with electronic musical instruments or electronic music technology. A distinction has been made between sound produced using electromechanical means and that produced using electronic technology.". Isn't electronic music just an umbrella term, not a genre? Is this as same case as "ballad" music? Because the definition of electronic music, simply, is "a music that using electronic instrumental". GogoLion (talk) 13:43, 21 July 2021 (UTC)

Orphaned references in Electronic music
I check pages listed in Category:Pages with incorrect ref formatting to try to fix reference errors. One of the things I do is look for content for orphaned references in wikilinked articles. I have found content for some of Electronic music's orphans, the problem is that I found more than one version. I can't determine which (if any) is correct for this article, so I am asking for a sentient editor to look it over and copy the correct ref content into this article.

Reference named "billboard": From Electronica:  From Ikutaro Kakehashi:  From Better Living Through Circuitry:

I apologize if any of the above are effectively identical; I am just a simple computer program, so I can't determine whether minor differences are significant or not. AnomieBOT ⚡ 10:24, 22 February 2022 (UTC)

Bangle video HD LOVE 1992
Bangle video HD LOVE 1992 2409:4063:2319:FC2F:0:0:A42:B8A5 (talk) 05:23, 12 March 2022 (UTC)

Bangla video song music HD love 1992 editing video entertainment short video story love
Bangla video song music HD love 1992 editing video entertainment short video story love 2409:4063:2319:FC2F:0:0:A42:B8A5 (talk) 05:24, 12 March 2022 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for deletion: Participate in the deletion discussion at the. —Community Tech bot (talk) 17:55, 21 April 2023 (UTC)
 * Silver Apples.jpg

"Electro" is a short form for Electronic?
Modern Music critics often describe songs as "Electro" but it seems like they use it as a short form for Electronic rather then a short form for "Electro-funk". Ravenfate (talk) 22:38, 17 April 2024 (UTC)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Talk:Electronic music


text:
Edvard Grieg

Edvard Hagerup Grieg (, ; 15 June 1843 – 4 September 1907) was a Norwegian composer and pianist. He is widely considered one of the leading Romantic era composers, and his music is part of the standard classical repertoire worldwide. His use of Norwegian folk music in his own compositions brought the music of Norway to fame, as well as helping to develop a national identity, much as Jean Sibelius did in Finland and Bedřich Smetana in Bohemia.

Grieg is the most celebrated person from the city of Bergen, with numerous statues that depict his image and many cultural entities named after him: the city's largest concert building (Grieg Hall), its most advanced music school (Grieg Academy) and its professional choir (Edvard Grieg Kor). The Edvard Grieg Museum at Grieg's former home, Troldhaugen, is dedicated to his legacy.

Background
Edvard Hagerup Grieg was born in Bergen, Norway (then part of Sweden–Norway). His parents were Alexander Grieg (1806–1875), a merchant and the British Vice-Consul in Bergen, and Gesine Judithe Hagerup (1814–1875), a music teacher and daughter of solicitor and politician Edvard Hagerup. The family name, originally spelled Greig, is associated with the Scottish Clann Ghriogair (Clan Gregor). After the Battle of Culloden in Scotland in 1746, Grieg's great-grandfather, Alexander Greig (1739-1803), travelled widely before settling in Norway about 1770 and establishing business interests in Bergen. Grieg's paternal great-great-grandparents, John (1702-1774) and Anne (1704-1784), are buried in the abandoned churchyard of the ruinous Church of St Ethernan in Rathen, Aberdeenshire, Scotland.

Edvard Grieg was raised in a musical family. His mother was his first piano teacher and taught him to play when he was aged six. He studied in several schools, including Tanks Upper Secondary School.

During the summer of 1858, Grieg met the eminent Norwegian violinist Ole Bull, who was a family friend; Bull's brother was married to Grieg's aunt. Bull recognized the 15-year-old boy's talent and persuaded his parents to send him to the Leipzig Conservatory, the piano department of which was directed by Ignaz Moscheles.

Grieg enrolled in the conservatory, concentrating on piano, and enjoyed the many concerts and recitals given in Leipzig. He disliked the discipline of the conservatory course of study. An exception was the organ, which was mandatory for piano students. About his study in the conservatory, he wrote to his biographer, Aimar Grønvold, in 1881: "I must admit, unlike Svendsen, that I left Leipzig Conservatory just as stupid as I entered it. Naturally, I did learn something there, but my individuality was still a closed book to me."

During the spring of 1860, he survived two life-threatening lung diseases, pleurisy and tuberculosis. Throughout his life, Grieg's health was impaired by a destroyed left lung and considerable deformity of his thoracic spine. He suffered from numerous respiratory infections, and ultimately developed combined lung and heart failure. Grieg was admitted many times to spas and sanatoria both in Norway and abroad. Several of his doctors became his friends.

Career
During 1861, Grieg made his debut as a concert pianist in Karlshamn, Sweden. In 1862, he finished his studies in Leipzig and had his first concert in his home town, where his program included Beethoven's Pathétique sonata.

In 1863, Grieg went to Copenhagen, Denmark, and stayed there for three years. He met the Danish composers J. P. E. Hartmann and Niels Gade. He also met his fellow Norwegian composer Rikard Nordraak (composer of the Norwegian national anthem), who became a good friend and source of inspiration. Nordraak died in 1866, and Grieg composed a funeral march in his honor.

On 11 June 1867, Grieg married his first cousin, Nina Hagerup (1845–1935), a lyric soprano. The next year, their only child, Alexandra, was born. Alexandra died in 1869 from meningitis. During the summer of 1868, Grieg wrote his Piano Concerto in A minor while on holiday in Denmark. Edmund Neupert gave the concerto its premiere performance on 3 April 1869 at the Casino Theatre in Copenhagen. Grieg himself was unable to be there due to conducting commitments in Christiania (now Oslo).

During 1868, Franz Liszt, who had not yet met Grieg, wrote a testimonial for him to the Norwegian Ministry of Education, which resulted in Grieg's obtaining a travel grant. The two men met in Rome in 1870. During Grieg's first visit, they examined Grieg's Violin Sonata No. 1, which pleased Liszt greatly. On his second visit in April, Grieg brought with him the manuscript of his Piano Concerto, which Liszt proceeded to sightread (including the orchestral arrangement). Liszt's rendition greatly impressed his audience, although Grieg said gently to him that he played the first movement too quickly. Liszt also gave Grieg some advice on orchestration (for example, to give the melody of the second theme in the first movement to a solo trumpet, which Grieg himself chose not to accept).

In the 1870s, he became friends with poet Bjørnstjerne Bjørnson, who shared his interests in Norwegian self-government. Grieg set several of his poems to music, including Landkjenning and Sigurd Jorsalfar. Eventually, they decided on an opera based on King Olav Trygvason, but a dispute as to whether the music or lyrics should be created first led to Grieg being diverted to working on incidental music for Henrik Ibsen's play Peer Gynt, which naturally offended Bjørnson. Eventually, their friendship resumed.

The incidental music composed for Peer Gynt at the request of the author contributed to its success and separately became some of the composer's most familiar music arranged as orchestral suites.

Grieg had close ties with the Bergen Philharmonic Orchestra (Harmonien), and later became Music Director of the orchestra from 1880 to 1882. In 1888, Grieg met Tchaikovsky in Leipzig. Grieg was impressed by Tchaikovsky, who thought very highly of Grieg's music, praising its beauty, originality and warmth.

On 6 December 1897, Grieg and his wife performed some of his music at a private concert at Windsor Castle for Queen Victoria and her court.

Grieg was awarded two honorary doctorates, first by the University of Cambridge in 1894 and the next from the University of Oxford in 1906.

Later years
The Norwegian government provided Grieg with a pension as he reached retirement age. During the spring of 1903, Grieg made nine 78-rpm gramophone recordings of his piano music in Paris. All of these discs have been reissued on both LPs and CDs, despite limited fidelity. Grieg recorded player piano music rolls for the Hupfeld Phonola piano-player system and Welte-Mignon reproducing system, all of which survive and can be heard today. He also worked with the Aeolian Company for its 'Autograph Metrostyle' piano roll series wherein he indicated the tempo mapping for many of his pieces.

In 1899, Grieg cancelled his concerts in France in protest of the Dreyfus affair, an antisemitic scandal that was roiling French politics at the time. Regarding this scandal, Grieg had written that he hoped that the French might, "Soon return to the spirit of 1789, when the French republic declared that it would defend basic human rights." As a result of his statements concerning the affair, he became the target of much French hate mail that day.

During 1906, he met the composer and pianist Percy Grainger in London. Grainger was a great admirer of Grieg's music and a strong empathy was quickly established. In a 1907 interview, Grieg stated: "I have written Norwegian Peasant Dances that no one in my country can play, and here comes this Australian who plays them as they ought to be played! He is a genius that we Scandinavians cannot do other than love."

Edvard Grieg died at the Municipal Hospital in Bergen, Norway on 4 September 1907 at age 64 from heart failure. He had suffered a long period of illness. His last words were "Well, if it must be so."

The funeral drew between 30,000 and 40,000 people to the streets of his home town to honor him. Obeying his wish, his own Funeral March in Memory of Rikard Nordraak was played with orchestration by his friend Johan Halvorsen, who had married Grieg's niece. In addition, the Funeral March movement from Chopin's Piano Sonata No. 2 was played. Grieg was cremated in the first Norwegian crematorium opened in Bergen just that year, and his ashes were entombed in a mountain crypt near his house, Troldhaugen. After the death of his wife, her ashes were placed alongside his.

Edvard Grieg and his wife were Unitarians and Nina attended the Unitarian church in Copenhagen after his death.

A century after his death, Grieg's legacy extends beyond the field of music. There is a large sculpture of Grieg in Seattle, while one of the largest hotels in Bergen (his hometown) is named Quality Hotel Edvard Grieg and a large crater on the planet Mercury is named after Grieg.

Music
Some of Grieg's early works include a symphony (which he later suppressed) and a piano sonata. He wrote three violin sonatas and a cello sonata.

Grieg composed the incidental music for Henrik Ibsen's play Peer Gynt, which includes the excerpts "In the Hall of the Mountain King" and "Morning Mood." In an 1874 letter to his friend Frants Beyer, Grieg expressed his unhappiness with "Dance of the Mountain King's Daughter," one of the movements in the Peer Gynt incidental music, writing "I have also written something for the scene in the hall of the mountain King – something that I literally can't bear listening to because it absolutely reeks of cow-pies, exaggerated Norwegian nationalism, and trollish self-satisfaction! But I have a hunch that the irony will be discernible."

Grieg's Holberg Suite was originally written for the piano, and later arranged by the composer for string orchestra. Grieg wrote songs in which he set lyrics by poets Heinrich Heine, Johann Wolfgang von Goethe, Henrik Ibsen, Hans Christian Andersen, Rudyard Kipling and others. Russian composer Nikolai Myaskovsky used a theme by Grieg for the variations with which he closed his Third String Quartet. Norwegian pianist Eva Knardahl recorded the composer's complete piano music on 13 LPs for BIS Records from 1977 to 1980. The recordings were reissued during 2006 on 12 compact discs, also on BIS Records. Grieg himself recorded many of these piano works before his death in 1907. Pianist Bertha Tapper edited Grieg’s piano works for publication in America by Oliver Ditson.

List of selected works

 * Piano Sonata in E minor, Op. 7
 * Violin Sonata No. 1 in F major, Op. 8
 * Concert Overture In Autumn, Op. 11
 * Violin Sonata No. 2 in G major, Op. 13
 * Piano Concerto in A minor, Op. 16
 * Incidental music to Bjørnstjerne Bjørnson's play Sigurd Jorsalfar, Op. 22
 * Incidental music to Henrik Ibsen's play Peer Gynt, Op. 23
 * Ballade in the Form of Variations on a Norwegian Folk Song in G minor, Op. 24
 * String Quartet in G minor, Op. 27
 * Two Elegiac Melodies for strings or piano, Op. 34
 * Four Norwegian Dances for piano four hands, Op. 35 (better known in orchestrations by Hans Sitt and others)
 * Cello Sonata in A minor, Op. 36
 * Holberg Suite for piano, later arr. for string orchestra, Op. 40
 * Violin Sonata No. 3 in C minor, Op. 45
 * Peer Gynt Suite No. 1, Op. 46
 * Lyric Suite for orchestra, Op. 54 (orchestration of four Lyric Pieces)
 * Peer Gynt Suite No. 2, Op. 55
 * Four Symphonic Dances for piano, later arr. for orchestra, Op. 64
 * Haugtussa Song Cycle after Arne Garborg, Op. 67
 * Sixty-six Lyric Pieces for piano in ten books, Opp. 12, 38, 43, 47, 54, 57, 62, 65, 68 and 71, including: Arietta, To the Spring, Little Bird, Butterfly, Notturno, Wedding Day at Troldhaugen, At Your Feet, Longing For Home, March of the Dwarfs, Poème érotique and Gone.

English

 * Carley, Lionel (2006) Edvard Grieg in England (Woodbridge, Suffolk: The Boydell Press) ISBN 978-1-84383-207-2
 * Finck, Henry Theophilius (2008) Edvard Grieg (Bastian Books) ISBN 978-0-554-96326-6
 * Finck, Henry Theophilus (2002) Edvard Grieg; with an introductory note by Lothar Feinstein (Adelaide: London Cambridge Scholars Press) ISBN 978-1-904303-20-6
 * Foster, Beryl (2007) Songs of Edvard Grieg (Woodbridge, Suffolk: The Boydell Press) ISBN 978-1-84383-343-7
 * Grimley, Daniel (2007) Grieg: Music, Landscape and Norwegian Cultural Identity (Woodbridge, Suffolk: The Boydell Press) ISBN 978-1-84383-210-2
 * Jarrett, Sandra (2003) Edvard Grieg and his songs (Aldershot: Ashgate) ISBN 978-0-7546-3003-6.

Norwegian

 * Bredal, Dag/Strøm-Olsen, Terje (1992) Edvard Grieg – Musikken er en kampplass (Oslo: Aventura Forlag A/S) ISBN 978-82-588-0890-6
 * Dahl Jr., Erling (2007) Edvard Grieg – En introduksjon til hans liv og musikk (Bergen: Vigmostad og Bjørke) ISBN 978-82-419-0418-9
 * Purdy, Claire Lee (1968) Historien om Edvard Grieg (Oslo: A/S Forlagshuse) ISBN 978-82-511-0152-3

Recordings by Grieg

 * Papillon – Lyric Piece, Op. 43, no. 1 as recorded by Grieg on piano roll, 17 April 1906, Leipzig (Info)

Recordings of Grieg works

 * Edvard Grieg, Sonata No. 1 in F major, I. Allegro con brio – Gregory Maytan (violin), Nicole Lee (piano)
 * Edvard Grieg, Sonata No. 1 in F major, II. Allegretto quasi Andantino – Gregory Maytan (violin), Nicole Lee (piano)
 * Edvard Grieg, Sonata No. 1 in F major, III. Allegro molto vivace – Gregory Maytan (violin), Nicole Lee (piano)
 * Edvard Grieg, Sonata No. 3 in C minor, I. Allegro molto ed appassionato – Gregory Maytan (violin), Nicole Lee (piano)
 * Edvard Grieg, Sonata No. 3 in C minor, II. Allegretto espressivo all Ramanza – Gregory Maytan (violin), Nicole Lee (piano)
 * Edvard Grieg, Sonata No. 3 in C minor, III. Allegro animato – Gregory Maytan (violin), Nicole Lee (piano)

title: Edvard Grieg