Not all of the Moog’s novelty was lost as the counterculture movement of the 1960s settled into the music industry. As new philosophies emerged in response to mainstream society and the Vietnam War, artists looked for new ways to express these developing concepts of counterculture. Musicians adopted the new technology and creativity the Moog offered into their own theoretical expressions of counterculture ideals, as this expansion of technology and sound lended itself to expansion of thought and soul. The spacey sounds of the Moog also fit right in with the age of space exploration, leading to even more experimentation in music as a parallel to exploration in space.
Just as counterculture musicians used the Moog for experimentation and the expansion of the mind, the Moog also entered music education decades later. By the 1990s, music teachers had begun to introduce synthesizers as instruments in their classrooms, providing a new alternative to the piano for students. The same experimental spirit of the 60s resonated with children in music classes and lessons, as “there is something about a synthesizer that invites experimentation” in the classroom (Upitis 32). Because of its intrinsic similarity to the keyboard, students could now take lessons in synthesizer as if they were piano lessons. Rena Upitis even found that children were often more comfortable learning the same scales and notes on a synthesizer instead of a piano because “we expect to experiment (and make mistakes) with technology, and in contrast, we expect to perform (perfectly) on acoustic instruments,” (32). With that comfortability with mistakes and experimentation, children also feel more comfortable practicing and experimenting musically with others, adding a social aspect to keyboard lessons. Just as musicians of the 1960s enjoyed the ease and creative properties of the synthesizer, children can now learn those same creative methods in music through lessons on the synthesizer.