User:Teggles/sandbox2

Growing use of electronic instruments
The 1920s and 1930s brought a wealth of early electronic instruments and the first compositions for electronic instruments.

Leon Theremin developed the theremin -- an electronic instrument performed using hand movements in the air -- in 1920. He performed a tour across Europe, and in 1928 production rights were granted to RCA Victor.

Though not a commercial success, the theremin featured in various productions and compositions. Records featuring it were released from 1929,  and thereminist Clara Rockmore performed worldwide in 1932. The theremin was used in Joseph Schillinger’s First Airphonic Suite from 1929, Dmitri Shostakovich’s score to the the 1931 film Odna, the 1934 film Liliom, and the 1936 radio play The Green Hornet.

The Ondes Martenot was invented and first performed in 1928. Like the theremin, it was also used in popular and classical music -- the Ondes Martenot appears in the 1932 film The Idea, the 1936 Sacha Guitry's film by Adolphe Borchard and the 1937 Olivier Messiaen composition Fête des belles eaux.

George Anthiel and Fernand Léger premiered the Futurist-inspired Ballet Mécanique in 1926, which was a mechnical play featuring airplane propellers and electric bells.

Other instruments developed include the Dynaphone in 1928, the Trautonium in 1930, the Rhythmicon in 1931, the Hammond Electric Organ in 1934, the polyphonic Warbo Formant Organ in 1937, and the Melodium in 1938.

Turntable music
An early precedent for the use of turntables to create music was at a Dada event in 1920, where Stephan Wolpe played eight gramophones simultaneously at widely different speeds. Darius Milhaud experimented with record manipulation in 1922, as did Bauhaus artist László Moholy-Nagy in 1923 and Edgard Verse in 1936 -- but none ended up using them in a final work.

Paul Hindemith and Ernst Toch composed three recorded studies titled Grammophonmusik between 1929 and 1930.

In 1939, John Cage published Imaginary Landscape, No. 1, which utilized two variable-speed turntables playing test tone records.

Graphical sound
Optical sound, a means of storing sound recordings on transparent film, was developed and popularized in the 1920s. In 1929, Arseny Avraamov and Evgeny Sholpo realized the technology could be used to create music, and they experimented with drawing directly onto optical film to synthesize sounds.

[they predicted a future of electronic music] Several methods of the graphical sound technique were developed, such as the 1932 Variophone. From 1930-34 more than 2000 meters of soundtrack and experimental films were produced by the Multzvuk group, only some of which survive.

Experiments with sound art were also conducted, with early practitioners including Tristan Tzara, Kurt Schwitters, Filippo Tommaso Marinetti, and others. The use of graphical sound continued with works by animators and composers such as Norman McLaren.

Further conceptions of electronic music
In 1933, Edgard Varese attempted to secure funding for an electronic music studio. After failing to do so, he published his 1936 manifesto The Liberation of Sound, which … John Cage also discussed the future of electronic music in 1937, as did Percy Grainger in 1938.