We also managed to track down Elisha Gray’s Musical Telegraph(s): they (3) are located at the Smithsonian. Unfortunately they can not be played, and apparently they have never been recorded either.
In January 1996, coincidentally, i have co-founded Idiosyntactix Strategic Arts & Sciences Alliance, with a series of what we called the IDIO-AUDIO Mighty Mono 99.1 FM Pirate Radio shows broadcast live on 25 watt transmitter setup on the rooftop of the TransForum gallery (Queen St. and Bathurst) in downtown Toronto. The IDIO-AUDIO Independent and Experimental Music Online email list was set up by Dmytri Kleiner at that time followed by a series of first in Toronto live webcasts from different venues by the IA team. Eventually the Industry Canada, after three and a half months, has shut the pirate radio party down. However the community formed during that time has moved on to host and broadcast more IA shows on other SW/FM/AM frequencies and online, including the licensed stations. also later
The focus of this project is in exploring the main themes of electronic instrument design and development previous to 1970 (and therefore isn’t intended as an exhaustive list of recent commercial synthesisers or software packages.) As well as creating a free, encyclopaedic, pedagogical resource on the History of Electronic Music (and an interesting list for Synthesiser Geeks) my main interest is to expose and explore musical, cultural and political narratives within the historical structure and to analyse the successes and failures of the electronic music ‘project’, for example;
After the 1917 Bolshevik revolution in Russia an utopian avant-garde movement inspired by Futurism and Anarchistic ideas developed which included radical new music and performance. New, atonal, music was written, new types of theatre evolved and new instruments invented to bring about this utopian age; conducted a huge symphony of sirens involving warships, factory hooters and artillery and proposed the destruction of all pianos to free music of fixed tonation. It was proposed that a new scientific culture replace the old archaic cultural order– brought about by new electronic instruments and scientific investigations into audio and visual perception (this period is covered in some detail in Andrei Smirnov’s excellent book ‘’). The Bolshevik government, traditionalists at heart and worried at their lack of control of this anarchic movement, suppressed it replacing it with a manageable propaganda based culture of uplifting, popular socialist realism; many of the former avant-garde were murdered, imprisoned or sidelined for the rest of their lives.
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