The Telharmonium (also known as the Dynamophone) was an early electrical organ, developed by Thaddeus Cahill c. 1896 and patented in 1897. The electrical signal from the Telharmonium was transmitted over wires; it was heard on the receiving end by means of "horn" speakers.
Like the later Hammond organ, the Telharmonium used tonewheels to generate musical sounds as electrical signals by additive synthesis. It is considered to be the first electromechanical musical instrument.
This is a list of electronic music genres, consisting of genres of electronic music, primarily created with electronic musical instruments or electronic music technology. A distinction has been made between sound produced using electromechanical means and that produced using electronic technology. Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, electric piano, and the electric guitar. Purely electronic sound production can be achieved using devices such as the theremin, sound synthesizer, and computer. Genre, however, is not always dependent on instrumentation.
In its early development, electronic music was associated almost exclusively with Western art music, but from the late 1960s, the availability of affordable music technology—particularly of synthesizers—meant that music produced using electronic means became increasingly common in the popular domains of rock and pop music and classical music, resulting in major electronically based subgenres. After the definition of MIDI in 1982 and the development of digital audio, the creation of purely electronic sounds and their manipulation became much simpler. As a result, synthesizers came to dominate the pop music of the early 1980s. In the late 1980s, electronic dance music (EDM) records made using only electronic instruments became increasingly popular, resulting in a proliferation of electronic genres, subgenres, and scenes. In the new millennium, as computer technology became even more accessible and music software advanced, interacting with music production technology made it possible to create music that has some similarities and some differences to traditional musical performance practices, leading to further developments and rapidly evolving subgenres.
Electronic music broadly is a group of music genres that employ electronic musical instruments, circuitry-based music technology and software, or general-purpose electronics (such as personal computers) in its creation. It includes both music made using electronic and electromechanical means (electroacoustic music). Pure electronic instruments depend entirely on circuitry-based sound generation, for instance using devices such as an electronic oscillator, theremin, or synthesizer: no acoustic waves need to be previously generated by mechanical means and then converted into electrical signals. On the other hand, electromechanical instruments have mechanical parts such as strings or hammers that generate the sound waves, together with electric elements including magnetic pickups, power amplifiers and loudspeakers that convert the acoustic waves into electrical signals, process them and convert them back into sound waves. Such electromechanical devices include the telharmonium, Hammond organ, electric piano and electric guitar.
The first electronic musical devices were developed at the end of the 19th century. During the 1920s and 1930s, some electronic instruments were introduced and the first compositions featuring them were written. By the 1940s, magnetic audio tape allowed musicians to tape sounds and then modify them by changing the tape speed or direction, leading to the development of electroacoustic tape music in the 1940s in Egypt and France. Musique concrète, created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds. Music produced solely from electronic generators was first produced in Germany in 1953 by Karlheinz Stockhausen. Electronic music was also created in Japan and the United States beginning in the 1950s and algorithmic composition with computers was first demonstrated in the same decade.
The RCA Mark II Sound Synthesizer (nicknamed Victor) was the first programmable electronic synthesizer and the flagship piece of equipment at the Columbia-Princeton Electronic Music Center. Designed by Herbert Belar and Harry Olson at RCA, with contributions by Vladimir Ussachevsky and Peter Mauzey, it was installed at Columbia University in 1957. Consisting of a room-sized array of interconnected sound synthesis components, the Mark II gave the user more flexibility and had twice the number of tone oscillators as its predecessor, the Mark I. The synthesizer was funded by a large grant from the Rockefeller Foundation.
Earlier 20th century electronic instruments such as the Telharmonium or the theremin were manually operated. The RCA combined diverse electronic sound generation with a music sequencer, which proved a huge attraction to composers of the day, who were growing weary of creating electronic works by splicing together individual sounds recorded on sections of magnetic tape. The RCA Mark II featured a binary sequencer using a paper tape reader analogous to a player piano, that would send instructions to the synthesizer, automating playback from the device. The synthesizer would then output sound to a synchronized record lathe next to the machine. The resulting recording would then be compared against the punch-tape score, and the process would be repeated until the desired results were obtained.
A tonewheel or tone wheel is a simple electromechanical apparatus used for generating electric musical notes in electromechanical organ instruments such as the Hammond organ and in telephony to generate audible signals such as ringing tone. It was developed by Thaddeus Cahill for the telharmonium c. 1896 and patented in 1897. It was reinvented around 1910 by Rudolph Goldschmidt for use in pre–vacuum-tube radio receivers as a beat frequency oscillator (BFO) to make continuous wave radiotelegraphy (Morse code) signals audible.