When Electronic Music Became 'Electronic Music'
The Origin of 'electronic music' and the 'Song of the Atom'
When writing about the early period of electronic music, naming this electronic technical/musical phenomenon often feels a little problematic. That is, in contemporary writing from the 19th to early 20th century on developments in harnessing electricity for music making, the terms electric music, electrical music, music from the ether, music of the spheres and music from the air are often used (and in Germany, elektrisches musik, aetherwellen-musik, musik aus der luft were common, in Norway Sfærenes musikk, in Estonia muusika õhust etc.). In English language writing, ‘electronic music’ is first used as we now commonly understand it from around 1930. As such the ‘Song of the Atom’ publication covers the period where both electronic music technologies and the term electronic music itself emerged, and in this article I’ll be looking into how the label arose.
Understanding the arrival of the term electronic music first requires pinning down the genesis of the term ‘electronic’ or ‘electronics’ - which Charles Süsskind undertook in his 1966 article ‘On the Origin of the Term ‘Electronics’’. Süsskind outlines how
‘Electronics’ (Ger. Elektronik) originally designated the branch of physics concerned with the particulate properties of materials and the behaviour of electrons … in that context the word occurred in the titles of two periodic publications dating back to the first decade of the [twentieth] century: Jahrbuch der Radioaktivität und Elektronik [1904-1924] … and Ion: A Journal of Electronics, Atomistics, Ionology, Radioactivity and Raumchemistry [appeared in London in 1908 and by 1910 the] contents and title switched to German (Ion: Zeitschrift für Elektronik, Atomistik, Ionologie, Radioaktivität und Raumchemie) (p. 95)
However the term ‘electronic’ was first used as an adjective by Sir John Ambrose Fleming for his book The Electronic Theory of Electricity [1902], and ‘electron’ was first proposed in 1891 ‘for an elementary unit of electric charge’, with the existence of the electron subatomic particle confirmed by Joseph John Thomson in 1897. Süsskind also outlines some related earlier uses, but these are identified as aberrations or even publishing typos.
‘Electronic’ was used in 1919 by Gherardi and Jewett where they described ‘thermionic’ circuits using de Forest’s high-vacuum triodes [audions] as electronic. In two 1922 German language articles by F. W. Meyer the term technische Elektronik is translated into ‘electronic technology’ in the Science Abstracts publication - and in the same publication Süsskind also finds the terms ‘electronic devices’, ‘electronic methods’ and ‘electronic control’.
The increasing use of ‘electronics’ appears to be closely tied up with the magazine Electronics that first appeared in 1930, with Süsskind summarising his findings, writing
Although earlier instances of the word electronics exist in another (the scientific) context, and although the adjective ‘electronic’ was used earlier in the technological context, I have been unable to find an occurence of ‘electronics’ as describing a branch of technology or industry that would antedate the first appearance of the magazine Electronics … (p. 98)
But what about ‘electronic music’? Based on the above it would seem unlikely that before 1930 electrical musical instruments such as Martenot’s ‘ondes musicales’, or the Termenvox of Lev Termen/Leon Theremin, could have been called ‘electronic’ as the term was yet to be widely used. Through my research over the past few years I have discovered (possibly) the first printed use of the term ‘electronic music’, and though it may not be deployed as we now understand it, it is directly related to the notion of the ‘music of the electron’.
A century ago The Cincinnati Enquirer [23-8-1925 p. 6] reported on a recent scientific lecture demonstration at the American Chemical Society’s national convention in California, that discussed the newly discovered subatomic features of atoms. The newspaper described the ‘electronic music’ heard during a presentation, where
Through an amplifier the sound of the electrons which compose the atoms became audible to the audience gathered at the convention … These invisible electrons whirl in ordered rhythm, even as the planets whirl, eternally restless, obedient to the laws of harmony. And they give forth a song! … The “song” of the atom is the newest gift of imperial science to amaze the mind of man.
A week later, in an article titled ‘The Song of the Atom’, the same demonstration was described in the Montana based Anaconda Standard newspaper [30-8-1925 p. 4].
People who have regarded the atom as a small matter must needs enlarge their views if they would keep pace with the scientists who declare that the atom is a universe in itself, with electrons whirling around like so many planets, and singing as they whirl. The “music of the spheres” is something more than a bit of imaginative poetry, it’s a prosaic fact. The “electronic music” heard at the American Chemical society’s convention in Los Angeles was not as thunderous as a grand opera chorus, but it was clearly audible. Through an amplifier the sound of the whirling electrons made a distinct impression upon the ear and a much deeper impression upon the imagination of the amazed and fascinated listener …
The history of science is just one thing chased, lassooed, thrown and branded after another. Science is nothing if not thorough. There is much to discover and reveal about the atom’s voice, its pitch, its tone, its range, its power, its colorature, its artistic technique.
The scientist giving this demonstration was W.R. Whitney, Director of the General Electric Company Research Laboratory, Schenectady, NY.
In a November 1924 Popular Science Monthly feature article on the research taking place at the laboratory, Whitney stated
Electricity, until recently a vast mystery, is now at least partly revealed to us. We are able to penetrate its secrets in a way that proves that electricity is the basis of all matter, and therefore the foundation of science.
Scientists have discovered that infinitesimal particle of electricity - the electron. We know that in their universe, so small we cannot conceive it, electrons are grouped about a nucleus. They revolve around this center much as the planets circle our sun. (p. 45)
In a 1925 article ‘Matter - Is There Anything in It?’, the basis of the paper he delivered at the American Chemical society’s convention, Whitney described how breakthroughs in understanding subatomic particles were crucial in understanding ‘the fourth state’ of matter - after solid, liquid and gas came the electronic state.
We have now reached a stage where a physical picture of the structure of atoms is more intricate than any earthly model, and more perfect geometrically than any known celestial system. The laws of astronomy have been called into play, and supercelestial orientations are necessary to elucidate the complicated, but not bewildering … internals of the atom. We go placidly from circular Copernican to elliptical Kepler orbits with actual enjoyment, and much quicker than we did in astronomy.
Almost every substance, particularly when heated, emits negative electrons, and these may be given almost any desired speed through space by application of electrical fields. (p. 885)
In summarising his approach to research on electricity and the electron, he stated
The development of research comes from daring to travel new roads. Instead of exhibiting pride at our accomplishments, we ought to register shame at our crass ignorance. Nature probably holds in store much greater things for man than he has realized or can anticipate. [Popular Science Monthly November 1924, p. 45]
After 1925 it has been difficult to find another usage of ‘electronic music’ before 1930, even when deployed in the poetic manner of the The Cincinnati Enquirer and Anaconda Standard journalists. However, in 1927 The Yonkers Herald [25-2-1927 p. 9] reported that the Serbian-American electrical engineer, physicist and inventor Mihajlo (Michael J.) Pupin of Columbia University had used it when considering the role of theology in science. He attempted to square new scientific discoveries with (his) religious beliefs and the creationist view of the evolution of the universe, by maintaining
God employed the heavenly host of electronic workers to build the atoms, the molecules and the galaxies of burning stars. These celestial furnaces throbbing with the blazing energy of the electronic host are molding all kinds of planetary castings and tempering them so as to be just right for organic life.
One of these primordial planetary castings is our mother Earth; it is a mere dust speck in the universe, but this dust speck is the home of the soul of man, and this lifts our tiny earth to a place of honor near the throne of God.
The soul of man is, as far as we know, the noblest product of God’s creation. It’s breath of life is the beautiful electronic music, and to be thrilled by the melody of that cosmic song is the highest aim in our study of electrical science.
In April 1930, McGraw-Hill began publishing Electronics magazine which is where, as Charles Süsskind wrote, the term ‘electronics’ first came into wider usage in the USA, and - soon - elsewhere. Furthermore, it is in the pages of Electronics that we find the first uses of ‘electronic music’ as a descriptive term in a manner that we would now recognise. At this stage of developments ‘electronic music’ already referred to the new electrical instruments being developed at the time, as well their sound and the music that they played, and the new future music making aesthetic or form of composition that may emerge from these instruments.
In August 1930, an article, ‘A $250,000,000 “TEMPLE OF ELECTRONICS”’ reported on the ‘Vast buildings for radio broadcasting, sound pictures, television, and electronic music, to be erected in New York City by John D. Rockefeller, Jr., in co-operation with the RCA-NBC group’.
Foundationed on the newly developed applications of the “electronic cousins’ —the thermionic tube and the photo-electric cell—there will be erected on three city blocks in New York City a great group of theaters and studios devoted to radio broadcasting, sound pictures, television, electronic music, and other developments of electronics in public entertainment and education. (p. 218-219)
This is the first published usage of the term electronic music as we now use it that I have found, but this also suggests the term may have been around for an amount of time before this when describing the new electronic musical instruments that began to appear at the end of the 1920s - but so far I have found no published examples.
In the following issue of Electronics (September 1930) an influential article was published that was also shared widely in newspapers large and small (such as the Charlotte Observer (North Carolina), the Indianapolis News, and the Cedar Rapids Evening Gazette among others). The article ‘The Music of Electrons’ by Dr. Alfred N. Goldsmith featured images of Leon Theremin’s electronic harmonium and Theremin orchestra, René Bertrand’s French Dynaphone, a photo-electric organ designed by Prof. A. C. Hardy of Cambridge, Mass, and the ‘voice chord’ designed by Frank E. Miller. Ater providing a broad overview of the potential and advantages of electronic music instruments, he considered the ‘New musical dimensions’ of the instruments, writing
The development of electrical music will be a long and difficult task. The matter of producing musical scores which will adequately indicate the greater number of available “musical dimensions” which are at the disposal of future artists constitutes a real problem. Symbols for delicate shades of quality, and more accurate indicators of loudness, are obviously called for.
There is a serious element of delay involved in the development and general acceptance of the new methods of writing music which are thus required. With a tremendously enhanced range of tone quality, volume, pitch, and mode of attack of musical tones, it is quite clear that the new musical shorthand which is capable of describing these effects for a solo performance, will be something distinctly unlike the musical score of the present. When orchestral and symphonic effects come into consideration, the necessary elaborations of musical scoring are even greater because electronic music gives the controlling musicians a chance of coupling, as desired, any instruments or groups of instruments, either into exact correspondence or with any desired lag or other more complicated relationship. One is rather staggered at the possibilities, from the musical viewpoint, of all of these combinations and permutations. They force the analyst into the belief that music is destined to enter into a new phase, which will be as much more subtle and refined and of value to mankind as is, for example, modern chemistry as related to medieval alchemy.
And, long after the perfected musical instrument and its scoring methods are available, their full capabilities will not be recognized by mankind because of the lack of the necessary specially written music and trained artists. The electrical musical instrument of the future will require great composers just as the piano needed Mozart and Beethoven before its capabilities were realized. Somewhere in the future, probably as yet unborn, are the great composers who will write the masterworks for these new electrical instruments.
And, after they have produced their masterpieces of music, there must also be born and trained, great artists who will have the technique adequately to perform the music which has been written. All of this is a matter of many generations - “‘art is long and time is fleeting.”
But that electrical music is revolutionary and that it opens up new vistas of the utmost importance to composers, musicians, and the music-loving public is already obvious; and all this is made possible through the agency of that ubiquitous servant of mankind - the electron. (p. 272)
In the December issue of Electronics (p. 422) a short paragraph concerning electronic music appeared.
Electronic Music in the Spotlight
The musicians in a symphony orchestra, the perfoprmers in a popular band, and the musical artist in the home, have suddenly found a strange and startling novelty - the electrical musical instrument. Into the realm of music, where so many centuries instrumental progress has been largely along conventional and time-honored lines, the electron suddenly comes to the middle of the stage, and waits for the spotlight of public interest which soon will blaze upon it
Dr. A. N. Goldsmith
In 1931 Electronics continued to feature articles and commentary on developments in electronic music - for example in the July issue, R. Raven-Hart wrote on European developments in electronic musical instruments, particularly the German Trautonium apparatus, and it was also a reported that an International Electronic Music Congress would be taking place in Munich from 6th - 8th July 1931, with Electronics observing
THE holding of an international congress on the subject of electronic music by the European inventors and manufacturers of electronic musical devices shows the practical extent to which the new musical devices have already progressed in Germany, France and other European countries. (p.18)
In the August issue, a quote on the future of electronic music from Leopold Stokowsky was featured (p.53)
ELECTRONIC MUSIC—THE MUSIC OF THE FUTURE
MUSICAL instruments up to the present have been developed on the cut-and-try basis. Electrical instruments offer us the really scientific method, with much greater possibilities.
When I return from Europe, I am planning to organize an orchestra made up entirely of artists playing electrical instruments. For the time being it may well be advisable to seek musicians who can play the old instruments well, and are willing to work up ability with the new.
LEOPOLD STOKOWSKY - Director, Philadelphia Philharmonic Orchestra
By 1931 the use of ‘electronic music’ had spread beyond Electronics - for example in the Des Moines Register [1-8-1931 p. 6] an article titled ‘Electronic Music’ discussed the potential of the Theremin for exploring new tunings, scales and harmonic ratios. But it appears that it is in and through Electronics that the term first took hold, with 1930 proving the watershed year. Finally, it is worth noting that ‘electronic music’ did not travel to the UK until 1933 when the Electronic Music Development Company was established to market and sell Martin Taubmann’s Electronde instrument. There are no published instances of its usage here/there before this company was established.
