Working with Theremin (an amateur cellist himself), RCA engineers shaped the instrument’s tone to evoke a cello in its mid-range and a violin at the top, sonorities they presumed would appeal to consumers. The company marketed the theremin as an instrument for the home, hiding its working parts-oscillators, vacuum tubes, and circuit board-in a polished wooden cabinet. RCA Victor began producing the first commercial theremin in 1929 after leasing exclusive rights to the patent for a two-year term from its inventor, Leon Theremin. While we might take for granted that the instrument’s touchless technique and new electronic timbre would naturally register with early listeners as alien and strange, contemporary reviews and commentary upend such assumptions and reveal the extent to which sonorities take on meaning in specific contexts, and in relationship to specific bodies.

This history isn’t widely known or taught, but it reveals much about how electronic musical sound takes on meaning and significance. Years before Hollywood cemented the theremin’s association with the alien or otherworldly, critics heard different qualities in its sonority: emotional expressiveness and excessive sentimentality. A significant surviving reception history documents recitals and concerts during the ’30s and ’40s, often given by women, known as “thereminists,” who played the instrument professionally or semi-professionally. audiences well before its appearance in sci-fi films. The instrument has a reputation as an oddball, by virtue of its unusual method of playing without touch (players control pitch and volume by moving their arms in proximity to two antennae), its notoriously slippery chromatic sound, and its association with all things alien and strange. Most people who haven’t heard of the theremin have heard it, usually in old science fiction movies like The Day the Earth Stood Still (or spoofs like Mars Attacks).

Sonority music definition