樂器數位介面（簡稱MIDI）是一個工業標準的電子通訊協定，為電子樂器等演奏裝置定義各種音符或彈奏碼，容許電子樂器、電腦、手機或其它的舞台演出配備彼此連接，調整和同步。 Musical Instrument Digital Interface (MIDI) is an industry-standard electronic communication protocol that defines note and performance data for electronic instruments, enabling synthesizers, computers, mobile devices, and stage equipment to connect, sync, and communicate.
Family Computer是任天堂發行的第三代家用遊戲機。1983年主機在日本以14800日元的價格發售，初期有PPU設計問題，經更新後人氣飆升，在1984年年底成為日本最暢銷的遊戲機。 The Family Computer was Nintendo's third-generation home game console. Released in Japan in 1983 at ¥14,800, initial PPU design issues were corrected after launch, and the machine's popularity soared — by late 1984 it had become Japan's best-selling game console.
teXound是90年代末台北以專注於播放電子舞曲而出名的舞廳。teXound 於'99年開幕，從店名、招牌所採用的字體和舞廳燈光音響設計，還有經驗豐富的DJ，無一不忠實呈現出電子舞曲特有的未來感。 TeXound was a Taipei club known in the late 1990s for its exclusive focus on electronic dance music. Opening in 1999, everything from its name, signage typography, and lighting and sound design to its experienced DJ roster faithfully evoked the futurist aesthetic characteristic of electronic dance culture.
「電子音樂實習」活動由電解體主辦，演出的團體包括Dino、零與聲音解放組織、田中能與應蔚民（夾子小應）。電解體致力於串聯電子音樂與聲響表演者，曾經舉辦第一屆破爛生活節以及空中破裂節。 The 'Electronic Music Workshop' event was organized by Dianjeti, with performances by Dino, Zero and Sound Liberation Organization, Tanaka Noh, and Ying Wei-min (Clip Hsiao-ying). Dianjeti was dedicated to connecting electronic music and sonic performers, and previously organized the first Broken Life Festival and Sky Rupture Festival.
《PLUR》雜誌創刊於1997年，是台灣唯一的電音文化雜誌，由「藍月唱片」發行，張耘之(Monbaza)為主要撰寫者，除了樂評、銳舞場景，還有時尚、前衛藝術的報導，全文中英對照，美編極具未來電子的迷幻感美編極具未來電子的迷幻感。 *PLUR* magazine was founded in 1997 — Taiwan's only electronic music culture magazine, published by Blue Moon Records with Zhang Yun-zhi (Monbaza) as primary writer. Covering music criticism, rave culture, fashion, and avant-garde art, with full Chinese-English bilingual text, its design captured the psychedelic futurism of electronic culture.
2002年陳史帝與朋友於台中組成「麥芽精釀工作室」，為少數在台北之外的實驗電子音樂推廣據點，從事音樂創作、販售罕見唱片、教授樂器彈奏與DJ技術，並舉辦台中第一場噪音藝術節「電子原音的反擊」。 In 2002, Chen Shih-ti and friends formed 'Malt Craft Studio' in Taichung — one of the few hubs for experimental electronic music outside Taipei. It engaged in music production, sold rare records, taught instrument playing and DJ skills, and organized Taichung's first noise art festival.
2002年底由林其蔚、許雅筑與剛成立的台北藝術大學科技藝術研究中心所主辦的「台灣國際電子藝術論壇」堪稱是「台北國際後工業藝術」之後，最具革命性的活動。 The 'Taiwan International Electronic Arts Forum,' organized in late 2002 by Lin Chi-wei, Hsu Ya-chu, and the newly established Technology Arts Research Center at Taipei National University of the Arts, was arguably the most revolutionary event since the 'Taipei International Post-Industrial Art' festival.
1970 年代起姚大鈞即開始創作前衛、實驗音樂的姚大鈞，2003年回台開課，主持「電腦音樂實驗室」。 Yao Dajuin, who had been creating avant-garde and experimental music since the 1970s, returned to Taiwan in 2003 to teach and direct the 'Computer Music Laboratory' at Taipei National University of the Arts.
1970 年代起姚大鈞即開始創作前衛、實驗音樂的姚大鈞，2003年回台開課，主持「電腦音樂實驗室」。 Yao Da-chun, who had been creating avant-garde and experimental music since the 1970s, returned to Taiwan in 2003 to teach and direct the 'Computer Music Laboratory' at Taipei National University of the Arts.
台北兩間主要的電音舞廳（或者說是夜店）2nd Floor與Texound，在台北舞吧燦爛多姿的2003年因為被視為毒品文化滋長的特殊場所，遭警方施壓而相繼於年底被迫停業。 Taipei's two major electronic dance clubs — 2nd Floor and TeXound — were forced to shut down by year-end 2003. Amid a vibrant nightlife scene, both were pressured by police who regarded them as hotbeds of drug culture.
「和」Party出現在戶外瑞舞派對紛紛被迫停辦的時期，「和」倡導音樂的自主性，每個月一次就像是固定的儀式和觀禮。 The He Party emerged during a period when outdoor raves were being shut down one after another. Advocating for musical autonomy, it was held once a month as a recurring ritual and gathering.
「電音三太子」源自台灣民間信仰中的「哪吒」，大約自2006年起，北港太子會、朴子太子團等團體將電子音樂、流行音樂搭配陣頭演出，親民又有活力的特色逐漸被視為台灣本土文化的重要象徵。 Electronic Nezha (電音三太子) is rooted in the folk deity Nezha. Beginning around 2006, groups like Beigang Taizi Hui and Puzih Taizi Tuan began pairing electronic and pop music with traditional temple parade performances. Their approachable, energetic style gradually became recognized as an important symbol of Taiwanese grassroots culture.
bit everysound 由2004年的表演組織post everything延續而來，自2005年起由林強、小吳(jjj)一起舉辦的音樂聚會，強調電子音樂不只是舞曲，不強調DJ個人魅力，而是整體氣氛感覺。 Bit Everysound grew out of the 2004 performance organization Post Everything. Beginning in 2005, Lim Giong and Xiao Wu (jjj) co-organized monthly music gatherings that emphasized electronic music beyond danceable tracks — prioritizing collective atmosphere over individual DJ celebrity.
