Electronic music owes its birth precisely to experiments with sound. Experiments with sound, or rather with sound vibrations, were essentially closer to science than to music. But it was precisely this experimental scientific work that was the beginning.
The coordinate system starts from zero. The decimal count starts with one. Two points of view that are contradictory among themselves – when does the next century begin, 2000 or 2001? We will not find out the truth. I just want to share with you some discussions on the topic of modern electronic music, music of the late XX century, and music of this century.
Faced with people who are more or less connected with modern electric machines (synthesizers, music computers and others like them, music show business, producing / producing modern urban rhythms, sometimes it’s sad to realize that people who are professionally involved in various forms of electronic music, unfortunately, not only not know the basics, but even modern monsters.A huge multifaceted layer of electronic music to this day occupies underground positions and next to pop / rock scenes It looks inconspicuous, shy, and for most its image is vague and foggy.For many years (by the way, long before the advent of rock and pop music), mankind was excited by the SOUND in its pristine nature and the METHODS of sound production. : a way of manifesting your own worldview and experiment.
Electronic music owes its birth to both of these components. Experiments with sound, or rather with sound vibrations, were essentially closer to science than to music. But it was precisely this experimental scientific work that was the beginning. If you look at the development of technological progress, you involuntarily understand that for some 30 years, the planet Earth seemed to begin to rotate several tens of times faster. Technical revolutions and general advances in technology have never developed at the fast pace that they became at the end of this century. The world of electronic music, like music in general, is constantly in motion. Transformations of its modifications are directly related to technological progress.
We will not go into details and a detailed description of historical events, but just let us recall the chronology of the development of these events. And, apparently, the history of electronic music can be taken for granted as a parallel to the development of the corresponding electro-musical instruments, instruments and appliances. Based on this, we can safely say that electronic music in 2000 marks 130 years! And the progenitor of today’s electric rhythms can be called a German physicist, mathematician Hermann Ludwig Ferdinand von Helmholtz (1821-1894). In 1860, he published SENSATIONS OF TONE: Psychological Basis for Theory of Music – practical conclusions and analysis of his own research in the field of electromagnetic vibrations of metal and glass. He designed an electrically controlled device called the Helmholtz Resonator. Continuing the theme of the development and establishment of electro-acoustic experiments of mankind, a little more history, or rather, some translational movements in time and a mention of the most significant inventions in the field of electricity and sound.
So, a brief listing of the most significant inventions of mankind over the past 130 years, which to one degree or another contributed and influenced the development of electronic music on our planet.
1870 – the first electronic instruments using various sound generation techniques Telharmonium and Chorelcello (+ William Duddell and Elisha Gray, USA).
1876 - an electromagnetic device with two octaves of a piano keyboard and built-in loudspeaker “Musical Telegraph” of the American scientist Elisha Gray.
1897 – the first full-fledged polyphonic electronic multi-octave instrument “Dynamophone / Telharmonium”, a huge construction using 145 modified dynamos. In the future, a simplified version of these developments was used in the famous organ of Hammond. (Thaddeus Cahill, USA).
1888/1908 – Choralcello Electric Organ electronic / electro-acoustic instrument, a practically modified modified version of the Telharmonium project (Melvin Severy and his brother George B. Sinclair. USA).
1899 – incredible experiments with street gas lanterns that created the Singing Arc, a device that controls the voltage variation of the amplitude and frequency characteristics of sound (William Du Bois Duddell, France).
1913/1922/1931 – Intonorumori, Rumorarmonio and Enharmonic Piano. Creations of the Italian futurist artist and musician Luigi Russolo (together with Marinetti and Piatti), whose technical and musical creations continue to influence many composers today. Among the frank “plagiarists” of his work can be called Pierre Schaefer (Pierre Schaefer), John Cage (John Cage) and Edgar Varese (Edgar Varese).