Electronic Music Synthesizer: Difference between revisions

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In 1955, Harry Olson and Herbert Belar complete their work on the first music synthesizer at the RCA laboratories at Princeton, N.J. , designed to research sound properties. It quickly became of interest to musicians and composers, revolutionizing music. Olson publishes the work in an article entitled RCA Electronic Music Synthesizer in January 1955.
<p>[[Image:Olson.jpg|thumb|left|Harry Olson]][[Image:RCA Theremin5.jpg|thumb|right|Image courtesy of Cantos Music Foundation, www.cantos.ca]] </p>
 
<p>In 1955, Harry Olson and Herbert Belar completed their work on the first electronic music synthesizer at [[RCA Laboratories at Princeton, New Jersey|RCA's David Sarnoff Research Center in Princeton, New Jersey]]. It quickly became of interest to avant-garde musicians and composers. Olson and Belar published an article entitled "Electronic Music Synthesizer" in 1955. The [[RCA Mark I and Mark II Synthesizers|RCA Mark I Sound Synthesizer]] was intended to reduce the cost of unionized musicians in producing records and soundtracks, but RCA Victor Division ultimately rejected the technology.  The Mark II was donated to the Columbia-Princeton Electronic Music Center and the Mark I given to the Smithsonian Institution. </p>
 
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[[Category:Culture_and_society]]
[[Category:Culture_and_society]]
[[Category:Leisure]]
[[Category:Leisure]]
[[Category:Music]]
[[Category:Music]]
[[Category:Signals]]
[[Category:Signal_generation_&_recording]]

Revision as of 18:24, 15 November 2013

This article is a stub. You can help the GHN by expanding it.

Harry Olson
Image courtesy of Cantos Music Foundation, www.cantos.ca

In 1955, Harry Olson and Herbert Belar completed their work on the first electronic music synthesizer at RCA's David Sarnoff Research Center in Princeton, New Jersey. It quickly became of interest to avant-garde musicians and composers. Olson and Belar published an article entitled "Electronic Music Synthesizer" in 1955. The RCA Mark I Sound Synthesizer was intended to reduce the cost of unionized musicians in producing records and soundtracks, but RCA Victor Division ultimately rejected the technology. The Mark II was donated to the Columbia-Princeton Electronic Music Center and the Mark I given to the Smithsonian Institution.