ABSTRACT
The field of music is full of uninformative labels and categories. Electronic music has not escaped this phenomenon. During the heyday of institutionalized electronic music in the ‘50s, even the founders of the music had difficulty agreeing on what to call it. Schaeffer and Henry called their combination of synthetic and natural sounds “musique concrete.” Eimert and Stockhausen called their music of purely synthetic origins “elektronische Musik.” Varèse called his combination of synthetic and processed natural sounds “organized sound.” Luening and Ussachevsky called it “tape-music.”
