The term was used originally in 1949 by Werner Meyer-Eppler in a book title, and was used for many years as a synonym of the electroacoustic musical work of the so-called Cologne School of the 1950s. Elektronische Musik was redefined regularly in its early years until 1954 when the term was used solely for contemporary works. It referred to music that was created at the radio broadcasting studio facilities involving electronic sound generation for radio plays, etc. The sounds could not have been generated by electronic instruments, nor could they involve so-called concrète material. Herbert Eimert’s view was that “elektronische Musik” was not ‘just’ music, but in fact serial music.