Composing and generating audio via pc technology as soon as the mid-’60s, Gottfried Michael Koenig was a pivotal pressure in cementing the growing romantic relationship between music and consumer electronics. Given birth to in Magdeburg, Germany in 1926, Koenig analyzed composition in the Detmold College of Music before relocating to Bonn, where he pursued his desire for pc anatomist. Between 1954 and 1964, he proved helpful alongside Karlheinz Stockhausen on the digital music studios from the Westdeutscher Rundfunk (WDR) in Cologne, collaborating with various other aspiring composers including György Ligeti and Mauricio Kagel; in 1956, Koenig finished his first main digital piece, Klangfiguren II, implemented a year afterwards by Essay. Through the early ’60s, Koenig started writing an application — named basically Task 1, or PR1 — made to compose and generate music via the pc; when in 1964 he recognized the positioning of creative movie director using the Institute for Sonology in Utrecht, Holland, he got the program with him, gaining the finishing details three years afterwards. While at Utrecht, Koenig also started tinkering with the Adjustable Function Generator, a machine produced by physics pupil Stan Templaars in a position to generate audio using approximately the same technology as an analog sequencer. Striking upon the thought of dealing with the VFG as an oscillator, between 1967 and 1969 Koenig utilized the device to compose some groundbreaking parts known collectively as the Funktionen. In 1968, Koenig also started work on another plan, PR2; its challenging design managed to get difficult to make use of, however, therefore PR1 continued to be his primary shop for computerized structure. He continued trying out PR1 for a long time to check out, in 1978 presenting VOSIM oscillators towards the project to generate an extended plan christened PRIX; some subsequent additions led to another up grade, PRIXM, as well as the conclusion of 1979’s Result. When the Institute of Sonology was relocated towards the Hague in 1986, Koenig retired from his post to target full-time on computerized structure aswell as developing brand-new musical applications; in 1991, he also released the initial in some theoretical writings entitled Aesthetic Practice.