Knut Wiggen (1927–2016) is not a household name in music technology, despite the fact that he developed cutting-edge technology during the 1960s and early 1970s in Stockholm, as leader of both the concert organisation Fylkingen and the Electronic Music Studio (EMS). In the international literature on computer music, this development has only been mentioned in passing, if at all. However, EMS and the general development has been discussed in Scandinavian texts,1 but the links between Knut Wiggen’s technical achievements and his far-reaching ambitions for the music of the future, and how this vision aligned with philosophy and research at the time, have not been the focus. Hartenstein (2011) provides insights into Wiggen’s personal intentions and philosophy, and does not go much into technical detail, Groth (2010) focuses principally on the politics and aesthetic differences and subsequent conflicts at EMS, and although an overview of the EMS technology is provided, it is not always made clear how innovative it was. In Broman (2007), the broader lines of electroacoustic musical development are in focus.Wiggen combined social and political concerns with technical insight, and his overarching conviction of how a new art was necessary as a counterweight to mute consumerism is unique in computer music. The aim of this article is to describe and explain the coherency of Wiggen’s achievements, his philosophy, his use of current technological advances and research and his development of a new method for composing the music of the future. In order to support this focus, mainly primary sources have been used,2 however, the literature mentioned above has been consulted due to its use of interview data and other personal communication not commonly available. A degree of duplication of information has been required for the narrative not to suffer.The article will show that Wiggen was a visionary pioneer who has a natural place among such computer music luminaries as Max Mathews, Jean-Claude Risset, John Chowning, Iannis Xenakis, Peter Zinovieff and others from the same generation.

中文翻译：

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解开 Knut Wiggen 的音乐和技术创新

Knut Wiggen (1927–2016) 在音乐技术领域并不是家喻户晓的名字，尽管事实上他在 1960 年代和 1970 年代初期在斯德哥尔摩开发了尖端技术，同时担任音乐会组织的负责人菲尔金根和电子音乐工作室(EMS)。在有关计算机音乐的国际文献中，这种发展只是顺便提及，如果有的话。然而，EMS 和一般发展已经在斯堪的纳维亚文本中讨论过，1但是 Knut Wiggen 的技术成就与他对未来的音乐，以及这一愿景如何与当时的哲学和研究保持一致，并不是重点。Hartenstein (2011) 提供了对 Wiggen 个人意图和哲学的见解，并没有深入探讨技术细节，Groth (2010) 主要关注 EMS 的政治和审美差异以及随后的冲突，尽管提供了 EMS 技术的概述，并不总是清楚它的创新程度。在 Broman (2007) 中，更广泛的电声音乐发展路线成为焦点。Wiggen 将社会和政治问题与技术洞察力结合起来，他对新艺术作为平衡无声消费主义的必要条件的总体信念在计算机音乐中是独一无二的。本文的目的是描述和解释维根的成就、他的哲学、他利用当前的技术进步和研究，开发了一种创作未来音乐的新方法。为了支持这一重点，主要使用了主要来源，2但是，由于使用了采访数据和其他不常见的个人交流，因此参考了上述文献。为了使叙述不受影响，需要一定程度的信息重复。文章将表明，Wiggen 是一位有远见的先驱，在 Max Mathews、Jean-Claude Risset、John Chowing、Iannis Xenakis 等计算机音乐名人中占有一席之地, Peter Zinovieff 和其他同代人。