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After completion of the work Kontakte for electronic sounds, piano and percussion in which stored electronic music on a tape is simultaneously played back together with the playing of two musicians, I was looking for closer connections between electronic and instrumental music. In 1964 I wrote Mixtur for orchestra, 4 sinus generators and 4 ring modulators and immediately after that came Mikrophonie I. In 1965 it was followed by Mikrophonie II for choir, Hammond organ and ring modulators. In Mikrophonie I, musicians put a large tam-tam in vibration by means of various materials. Two musicians move the microphones by hand over the surface of the tam-tam and a third group of musicians transforms the recorded vibrations with electric filters and regulators. Together with the original sound of the tam-tams, they are simultaneously played back via loudspeakers. The division of the musical processes into three independent sectors (sound making, sound recording, sound transformation) makes it possible to continuously link all the instrumental experiences with the electronic sound technique. That way any source of sounds (traditional instruments, sound events of any nature) can be integrated in a sound composition which seeks coherence. Thus making the dualism between instrumental technique and electronic music disappear. Furthermore, the title