Also in 1951, Schaeffer and Henry produced an opera, Orpheus, for concrete sounds and voices. In 1944, previous to the usage of magnetic tape for compositional functions, Egyptian composer Halim El-Dabh, whereas nonetheless a student in Cairo, used a cumbersome wire recorder to record sounds of an historic zaar ceremony. Using facilities at the Middle East Radio studios El-Dabh processed the recorded material using reverberation, echo, voltage controls, and re-recording. What resulted is believed to be the earliest tape music composition.

In 1950, Schaeffer gave the primary public (non-broadcast) live performance of musique concr猫te on the 脡cole Normale de Musique de Paris. In Paris in 1951, in what was to turn out to be an necessary worldwide development, RTF established the first studio for the production of electronic music.

Many of the electroacoustic tape pieces they produced had been used as incidental music for radio, movie, and theatre. They also held live shows using a slide show synchronized with a recorded soundtrack.

Composers outdoors of the Jikken K艒b艒, such as Yasushi Akutagawa, Saburo Tominaga and Shir艒 Fukai, were also experimenting with radiophonic tape music between 1952 and 1953. Following the inspiration of electronics firm Sony in 1946, composers Toru Takemitsu and Minao Shibata independently explored potential makes use of for digital expertise to provide music.

Takemitsu had ideas much like musique concr猫te, which he was unaware of, while Shibata foresaw the event of synthesizers and predicted a drastic change in music. Sony started producing well-liked magnetic tape recorders for government and public use.

The firm hired Toru Takemitsu to show their tape recorders with compositions and performances of electronic tape music. The first digital tape pieces by the group had been 'Toraware no Onna' ('Imprisoned Woman') and 'Piece B', composed in 1951 by Kuniharu Akiyama.