Swedish composer and visible artist Lars-Gunnar Bodin was a pioneer of electro-acoustic music and text-sound compositions, who also informed through teaching and through radio presentations, was a fundamental element of digital music’s presence in the Fylkingen society, and was director from the Digital Music Studio room (EMS). Bodin’s early functions and his participation — which include 3 years as Chairman — in Fylkingen (a culture for the advertising of new artwork forms because the ’30s) had been crucial to the introduction of digital music in Sweden. The Stockholm-born composer analyzed with Lennart Wenström over the last half from the ’50s and 1st became involved in the Fylkingen culture in the first ’60s. Bodin had been using computer control in his visible artwork when he fulfilled up with Göwent Sundqvist; the procedure improved as both collaborated through the ’60s and their function was area of the L´Artiste et L´Ordinateur exhibition. With fellow Swedish composer Bengt-Emil Johnson, Bodin started staging concerts and festivals of text-sound structure — functions of music where language and tone of voice are used for his or her sound, not really their indicating. He and Johnson had been one of the primary to write with this setting, along with Sten Hanson as well as others. One compilation documenting their function may be the Pioneers: Five Text-Sound Performers (Phono Sueco, 1992). Bodin published electro-acoustic music, instrumental theatre music, multimedia functions, compositions making use of tape in live show, and the written text that he found in a lot of his items. Two notable functions are “Commenting on Traces I” (1970), and “In Clouds” (1972-1976). Lars-Gunnar Bodin was composer-in-residence at California’s Mills University in 1972, and became the Movie director of Stockholm’s EMS in the past due ’70s.