Formulation of the sampling (Nyquist) theorem establishes the theoretical foundation of digital sampling; Theremin
Light-Tone Organ
Magnetophon; magnetic tape recording (Germany)
Singing Keyboard, ur-sampler designed for special-effects noises (Hollywood)
Pulse Code Modulation (PCM), efficient digital information coding
Pierre Schaeffer formulates Musique Concrète, Phonogene, proto-sampling using analog tape techniques (Paris)
Hugh LeCaine invents the Special Purpose Tape Recorder (Ottawa)
Max Matthews does first digital synthesis with the Music I and Music II programs at Bell Labs
Lejaren Hiller experiments with algorithmic composition on a computer
Music III-V software synthesis with unit generators; algorithmic composition programs by Iannis Xenakis (Stochastic Music Program) and G. M. Koenig (Project 1); Moog and Buchla synthesizers
Experimental digital audio recorders; Mellotron; early algorithmic microprocessor-controlled synthesis systems (David Behrman, Martin Bartlett); algorithmic composition program by Barry Truax (POD)
Xenakis publishes Formalized Music
First commercial digital audio recording system, Sony PCM-1; Synclavier sampling instrument
Fairlight Computer Music Instrument
High-quality digital audio work stations for personal computers
E-Mu Emulator
Compact Disc
MIDI (Musical Instrument Digital Interface); Yamaha DX7, digital FM synthesis
Cmix by Paul Lansky at Princeton University
Csound by Barry Vercoe & R. Karstens at MIT
Max created by Miller Puckette at IRCAM (Institut de Recherche et Coordination Acoustique/Musique)