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phone was also known as the telharmonium the instrument weighed over 200 tons and was designed to transmit sound over telephone wires however the wires were too delicate for all the signals you can sort of consider him the father of muzak the generators produced pure tones of various frequencies and intensity volume control supplied dynamics articles appeared in mcclure s magazine that stated democracy in music the musician uses keys and stops to build up voices of flute or clarinet as the artist uses his brushes for mixing color to obtain a certain hue it may revolutionize our musical art lee de forest 1873 1961 invented the triode or audion tube the first vacuum tube 1907 ferruccio busoni 1866 1924 believed that the current musical system was severely limited so he stated that instrumental music was dead his treatise on aesthetics sketch of a new music discussed the future of music 1910 the first radio broadcast in nyc first radio station was built in 1920 also in nyc 1912 the italian futurist movement was founded by luigi russolo 1885 1947 a painter and filippo marinetti a poet marinetti wrote the manifesto musica futurista the futurist movement s creed was to present the musical soul of the masses of the great factories of the railways of the transatlantic liners of the battleships of the automobiles and airplanes to add to the great central themes of the musical poem the domain of the machines and the victorious kingdom of electricity henry cowell 1897 1965 introduced tone clusters in piano music the banshee and aeolian harp are good examples 1914 the first concert of futurist music took place the art of noises concert was presented by marinetti and russolo in milan italy 1920 lev leon theremin russia invented the aetherophone later called the theremin or thereminovox the instrument used 2 vacuum tube oscillators to produce beat notes musical sounds were created by heterodyning from oscillators which varied pitch a circuit was altered by changing the distance between 2 elements the instrument had a radio antenna to control dynamics and a rod sticking out the side that controlled pitch the performer would move his her hand along the rod to change pitch while simultaneously moving his her other hand in proximity to the antenna many composers used this instrument including varese 1922 darius milhaud b 1892 experimented with vocal transformation by phonograph speed changes ottorino respighi 1879 1936 called for a phonograph recording of nightingales in his pini di roma pines of rome 1926 jorg mager built an electronic instrument the spharophon the instrument was first presented at the donaueschingen festival rimsky korsakov composed some experimental works for this instrument mager later developed a partiturophon and a kaleidophon both used in theatrical productions all of these instruments were destroyed in w w ii george antheil 1900 1959 composed ballet mechanique antheil was an expatriate american living in france the work was scored for pianos xylophones pianola doorbells and an airplane propeller 1928 maurice martenot b 1928 france built the ondes martenot first called the ondes musicales the instrument used the same basic idea as the theremin but instead of a radio antenna it utilized a moveable electrode was used to produce capacitance variants performers wore a ring that passed over the keyboard the instrument used subtractive synthesis composers such as honegger messiaen milhaud dutilleux and varese all composed for the instrument friedrich trautwein 1888 1956 germany built the trautonium composers such as hindemith richard strauss and varese wrote for it although no recordings can be found 1929 laurens hammond b 1895 usa built instruments such as the hammond organ novachord solovox and reverb devices in the united states the hammond organ used 91 rotary electromagnetic disk generators driven by a synchronous motor with associated gears and tone wheels it used additive synthesis 1931 ruth crawford seeger s string quartet 1931 was composed this is one of the first works to employ extended serialism a systematic organization of pitch rhythm dynamics and articulation henry cowell worked with leon theremin to build the rhythmicon an instrument which could play metrical combinations of virtually unlimited complexity with this instrument cowell composed the rhythmicana concerto jorg mager germany was commissioned to create electronic bell sounds for the bayreuth production of parsifal 1935 allegemeine elektrizitats gesellschaft aeg built and demonstrated the first magnetophon tape recorder 1937 war of the worlds was directed by orson welles welles was the first director to use the fade and dissolve technique first seen in citizen kane to date most film directors used blunt splices instead electrochord the electroacoustic piano was built 1938 novachord built 1939 stream of consciousness films came about john cage 1912 1992 began experimenting with indeterminacy in his composition imaginary landscape no 1 multiple performers are asked to perform on multiple record players changing the variable speed settings 1930s plastic audio tape was developed the sonorous cross an instrument like a theremin was built 1941 joseph schillinger wrote the the schillinger system of musical composition this book offered prescriptions for composition rhythms pitches harmonies etc schilllinger s principal students was george gershwin and glenn miller the ondioline was built 1944 percy grainger and burnett cross patented a machine that freed music from the constraints of conventional tuning systems and rhythmic inadequacies of human performers mechanical invention for composing free music used eight oscillators and synchronizing equipment in conjunction with photo sensitive graph paper with the intention that the projected notation could be converted into sound 1947 bell labs developed and produced the solid state transistor milton babbitt s three compositions for piano serialized all aspects of pitch rhythm dynamics and articulation the solovox and the clavioline were built 1948 john scott trotter built a composition machine for popular music hugh lecaine canada built the electronic sakbutt an instrument that actually sounded like a cello pierre schaeffer b 1910 a sound technician working at radio diffusion television francaise rtf in paris produced several short studies in what he called musique concrete october 1948 schaeffer s early studies were broadcast in a concert of noises joseph schillinger wrote the mathematical basis of the arts 1949 pierre schaeffer and engineer jacques poullin worked on experiments in sound which they titled musique concrete 1949 50 schaeffer and henry 1927 96 along with poullin composed symphonie pour un homme seul symphony for a man alone the work actually premiered march 18 1950 olivier messiaen composed his mode de valeurs et d intensities mode of durations and intensities a piano composition that established scales not only of pitch but also of duration loudness and attack the melochord was invented by h bode 1940s the following instruments were built the electronium pi actually used by a few german composers including brehme degen and jacobi the multimonica the polychord organ the tuttivox the marshall organ and other small electric organs 1950 the milan studio was established by luciano berio b 1925 italy 1951 clara rockmore performed on the theremin in worldwide concerts variations on a door and a sigh was composed by pierre henry the rtf studio was formally established as the groupe de musique concrete the group opened itself to other composers including messiaen and his pupils pierre boulez karlheinz stockhausen and george barraque boulez and stockhausen left soon after because schaeffer was not interested in using electronically generated sounds but rather wanted to do everything based on recordings john cage s use of indeterminacy culminated with music of changes a work based on the charts from the i ching the chinese book of oracles structures book ia was one of pierre boulez earliest attempts at employing a small amount of musical material called cells whether for use as pitches durations dynamics or attack points in a highly serialized structure 1951 53 eimert and beyer b 1901 produced the first compositions using electronically generated pitches the pieces used a mechanized device that produced melodies based on markov analysis of stephen foster tunes 1952 the cologne station of nordwestdeutscher rundfunk later westdeutscher rundfunk was founded by herbert eimert he was soon joined by stockhausen and they set out to create what they called elektronische musik john cage s 4 33 was composed the composer was trying to liberate the performer and the composer from having to make any conscious decisions therefore the only sounds in this piece are those produce by the audience 1953robert beyer werner meyer eppler b 1913 and eimert began experimenting with electronically generated sounds eimert and meyer eppler taught at darmstadt summer school germany and gave presentations in paris as well louis and bebe baron set up a private studio in new york and provided soundtracks for sci fi films like forbidden planet 1956 and atlantis that used electronic sound scores otto luening b 1900 usa d 1996 usa and vladimir ussachevsky b 1911 manchuria d 1990 usa present first concert at the museum of modern art in new york october 28 the program included ussachevsky s sonic contours created from piano recordings and luening s fantasy in space using flute recordings following the concert they were asked to be on the today show with dave garroway musicians local 802 raised a fuss because luening and ussachevsky were not members of the musicians union 1953 4 karlheinz stockhausen b 1928 used helmholtz research as the basis of his studie i and studie ii he tried to build increasingly complex synthesized sounds from simple pure frequencies sine waves 1954 the cologne radio series music of our time october 19 used only electronically generated sounds by stockhausen eimert pousseur etc the pieces used strict serial techniques dripsody was composed by hugh lecaine the single sound source for this concrete piece is a drip of water 1955 harry olson and belar both working for rca invent the electronic music synthesizer aka the olson belar sound synthesizer this synth used sawtooth waves that were filtered for other types of timbres the user programmed the synthesizer with a typewriter like keyboard that punched commands into a 40 channel paper tape using binary code the columbia princeton studio started with its beginnings mostly in the living room of ussachevsky and then the apartment of luening lejaren hiller 1924 92 and leonard isaacson from the university of illinois composed the illiac string quartet the first piece of computer generated music the piece was so named because it used a univac computer and was composed at the university of illinois 1955 56 karlheinz stockhausen composed gesang der junglinge this work used both concrete recordings of boys voices and synthesized sounds the original version was composed for five loudspeakers but was eventually reduced to four the text from the benedicite o all ye works of the lord bless ye the lord which appears in daniel as the canticle sung by the three young jews consigned to the fiery furnace by nebuchadnezzar 1956 martin klein and douglas bolitho used a datatron computer called push button bertha to compose music this computer was used to compose popular tunes the tunes were derived from random numerical data that was sieved or mapped into a preset tonal scheme tokyo at japanese radio an electronic studio established luening and ussachevsky wrote incidental music for orson welles king lear city center new york 1957 of wood and brass was composed by luening sound sources included trumpets trombones and marimbas scambi composed by henri pousseur was created at the milan studio italy warsaw at polish radio an electronic studio established munich the siemens company an electronic studio established eindhoven the philips company an electronic studio established david seville created the chipmunks by playing recordings of human voices at double speed electronic manipulation was never really used again in rock for about ten years 1958 edgard varese 1883 1965 composed poeme electronique for the world s fair brussels the work was composed for the philips pavilion a building designed by the famous architect le corbusier who was assisted by iannis xenakis who later became well known as a composer rather than an architect the work was performed on ca 425 loudspeakers and was accompanied by projected images this was truly one of the first large scale multimedia productions iannis xenakis b 1922 composed concret ph this work was also composed for the brussels world s fair it made use of a single sound source amplified burning charcoal max mathews of bell laboratories generated music by computers john cage composed fontana mix at the milan studio london bbc radiophonic workshop an electronic studio established stockholm swedish radio an electronic studio established the studio for experimental music at the university of illinois established directed by lejaren hiller pierre henry leaves the group de musique concrete they reorganize as the groupe de recherches musicales grm gordon mumma and robert ashley founded the cooperative studio for electronic music ann arbor mi university of michigan luciano berio composed thema omaggio a joyce the sound source is woman reading from joyce s ulysses 1958 60 stockhausen composed kontakte contacts for four channel tape there was a second version for piano percussion and tape 1958 9 mauricio kagel an argentinian composer composed transicion ii the first piece to call for live tape recorder as part of performance the work was realized in cologne two musicians perform on a piano one in the traditional manner the other playing on the strings and wood two other performers use tape recorders so that the work can unites its present of live sounds with its future of pre recorded materials from later on and its past of recordings made earlier in the performance max mathews at bell labs began experimenting with computer programs to create sound material mathews and joan miller also at bell labs write music4 the first wide spread computer sound synthesis program versions i through iii were experimental versions written in assemble language music iv and music v were written in fortran music4 did not allow reentrant instruments same instrument becoming active again when it is already active music5 added this music4 required as many different instruments as the thickest chord while music5 allowed a score to refer to an instrument as a template which could then be called upon as many times as was necessary the columbia princeton electronic music center was formally established the group had applied through the rockefeller foundation and suggested the creatio...
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