This lead directly to the design of several new instrument; Thadeus Cahill’s Telharmonium (1897) and Jörg Mager’s Sphäraphon (1920s) amongst many other, that explored new forms of interaction freeing the composer and musician from the ‘tyranny’ of the fixed tempered Piano keyboard (which at the beginning of electronic music instrument design was a fairly recent standard).Though this experiment was ultimately doomed due to commercial pressure on instrument designers to provide simulations of existing instruments on a fixed tempered scale for popular music, the concept survived into the 1960s in ‘serious’ experimental music with the era of the Electronic Music Studio; GRM, Milan, WDR, Columbia-Princeton Electronic Music Center etc.
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As well as developing new physical interface models another channel of exploration was to use electronic musical instruments to free the composer from problems associated with performers and performance; removing the musician from the process of musical production allowing the composer to create pure unadulterated music concepts.
When this was first proposed – first proposed in Russia in the 1930s by Avraamov and later Hanert’s ‘Electric Orchestra‘ (1945), Percy Grainger’s ‘Free Music Machine’ (1948) and Murzin’s ANS Synthesiser ) this concept was considered extreme, utopian and unachievable and met considerably hostility from traditionalists This goal has mostly been achieved through digital software but what has been the effect on composition?
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This project defines ‘Electronic Musical Instrument’ as an instruments that generate sounds from a purely electronic source rather than electro-mechanically or electro-acoustically (However the boundaries of this definition do become blurred with, say, Tone Wheel Generators and tape manipulation of the Musique Concrète era).