<story><title>Sounds of Cologne – The WDR Studio for Electronic Music</title><url>https://artsandculture.google.com/story/sounds-of-cologne-wdr/gQWRzsVclcCYPA?hl=en</url></story><parent_chain></parent_chain><comment><author>AlecSchueler</author><text>I grew up on &amp;#x27;60s and &amp;#x27;70s WDR electronic music; it was super important for me in my teens, not only musically, but also as a gateway to my interest in computers, signal processing and European history.&lt;p&gt;They mention in the article a bit about the political push against experimental music in the 1930s, but it&amp;#x27;s interesting to consider that the re-surfacing of such music was also very political: the West were very happy to broadcast free and progressive music across the wall. I definitely have a feeling that experimental music has become a lot more niche since relations softened, the extra funding and promotion has dried up a bit, and now the world of that music has moved almost entirely to the back rooms of various universities.</text></comment>
<story><title>Sounds of Cologne – The WDR Studio for Electronic Music</title><url>https://artsandculture.google.com/story/sounds-of-cologne-wdr/gQWRzsVclcCYPA?hl=en</url></story><parent_chain></parent_chain><comment><author>zwieback</author><text>Publicly funded radio and TV in Germany was a mishmash of entertainment, education, news reporting but also music production. Entire symphony orchestras and Jazz bands were part of the state-run stations. Private broadcasting didn&amp;#x27;t exist, maybe wasn&amp;#x27;t allowed then.&lt;p&gt;Not surprised to hear about electronic music being funded as well, the public networks had a reputation of being somewhat elitist and high brow.</text></comment>