Written from the perspective of two people currently involved in experimental and electronic music in Australia, this chapter provides an overview of some of the key movements and works in the genre, from the twentieth century to the present day. Focusing primarily on music that exploits technology and experimental approaches that progress innovation in art music contexts, it highlights some of the diverse practitioners – performers, composers, improvisers, sound artists, and instrument makers – who have pushed the boundaries of what is possible, often blurring the lines between art forms in the process. While it is unable to provide an exhaustive historical or contemporary account of the innovations that have been achieved here, or those responsible, the selected representative survey should serve to contextualise Australia’s contributions to electronic and experimental music, demonstrating our reputation for presenting ‘mavericks’ to the music world.

The influence of black artists and music genres on Krautrock‘s pioneers fed directly into the conception of electro, Detroit techno, and Chicago house, largely developed by exponents of black communities in their respective localities. A universal funk, present in the black music that inspired early Krautrock artists, through to Kraftwerk and their industrielle Volksmusik, permeated through to black communities in America. The programmed funk of Kraftwerk‘s automated computer music spoke to black pioneers in New York, Chicago, and Detroit, sparking the development of ground-breaking genres such as electro, house, and techno. Barnes explores the lineage and transnational influence of Krautrock on America‘s black communities via the tributaries of German free jazz and krautfusion.

During Britten’s lifetime, there were fundamental changes to technology that altered his and his audience’s experience of live and recorded musical performance. Chief among these was the advent of radio, established in Britain in October 1922 with the formation of the British Broadcasting Company (BBC). This chapter explores the BBC’s influence on British musical life and the cultural life of the nation. Discussions include the corporation’s manner of promotion of past and contemporary British music and composers and the changes made to programming during and in the immediate aftermath of the Second World War. The BBC was fundamental to Britten’s creation of a British identity as he disseminated his music to a wider audience, as well as to the success of the Aldeburgh Festival.