Theremin

This is about the instrument; for the person see Léon Theremin.

File:Leon Theremin Playing Theremin.jpg

Léon Theremin playing an early theremin

The theremin is one of the earliest electronic musical instruments, and the first musical instrument played without being touched (originally IPA: [ˈteremin] but often anglicized as /ˈθɛrəmɪn/, theramin, or thereminvox, it is also known as an aetherphone.) It was invented by Russian inventor Leόn Theremin (Russian: Лев Сергеевич Термен) in 1919,. The controlling section is usually two metal antennas to sense the position of the player's hands. These control audio oscillator(s) for frequency with one hand, and volume with the other. The electric signals from the theremin are amplified and sent to a loudspeaker. The theremin is a quintephone.

To play, the player moves his hands around the antennas, controlling frequency (pitch) and amplitude (volume). The theremin is associated with "alien", surreal, and eerie-sounding portamento, glissando, tremolo, and vibrato sounds, due to its use in film soundtracks such as Spellbound, The Lost Weekend, Ed Wood, Mars Attacks! (together with Ondes-Martenot and pre-recorded Theremin samples) and The Day the Earth Stood Still. Theremins are also used in art music (especially avant-garde and 20th century "new music") and in popular music genres such as rock and pop. John Otway regularly uses a Theremin in his performances, Jean Michel Jarre also used it on his album Oxygene.

Other electronic instruments, such as the Ondes-Martenot also use two heterodyning oscillators, but the Ondes-Martenot is touched while played.

History

See also: Léon Theremin

The theremin was originally the product of Russian government-sponsored research into proximity sensors. The instrument was invented by a young Russian physicist named Lev Sergeivich Termen (known in the West as Léon Theremin) in 1919, after the outbreak of the Russian civil war. After positive reviews at Moscow electronics conferences, Theremin demonstrated the device to Bolshevik leader Vladimir Lenin. Lenin was so impressed with the device that he began taking lessons in playing it, commissioned six hundred of the instruments for distribution throughout the Soviet Union, and sent Theremin on a trip around the world to demonstrate the latest Soviet technology and the invention of electronic music. After a lengthy tour of Europe, during which time he demonstrated his invention to packed houses, Theremin found his way to America, where he patented his invention in 1928 (US1661058). Subsequently, Theremin granted commercial production rights to RCA.

Although the RCA Thereminvox, released immediately following the Stock Market Crash of 1929, was not a commercial success, it fascinated audiences in America and abroad. Clara Rockmore, a well-known thereminist, toured to wide acclaim, performing a classical repertoire in concert halls around the United States, often sharing the bill with Paul Robeson. In 1938, Theremin left the United States, though the circumstances related to his departure are in dispute. Many accounts claim he was taken from his New York City apartment by Soviet agents, returned to the USSR and made to work in a sharashka. However, Albert Glinsky's 2000 biography Theremin: Ether Music and Espionage suggests he fled to escape crushing personal debts, and was subsequently caught up in Stalin's political purges. In any case, Theremin did not return to the United States until 1991.

A modern Moog theremin

After a flurry of interest in America following the end of the Second World War, the theremin soon fell into disuse with serious musicians, mainly because newer electronic instruments were introduced that were easier to play. However, a niche interest in the theremin persisted, mostly among electronics enthusiasts and kit-building hobbyists. One of these electronics enthusiasts, Robert Moog, began building theremins in the 1950s, while he was a high-school student. Moog subsequently published a number of articles about building theremins, and sold theremin kits which were intended to be assembled by the customer. Moog credited what he learned from the experience as leading directly to his groundbreaking synthesizer, the Minimoog.

Since the release of the film Theremin: An Electronic Odyssey in 1994 (one year after the death of Léon Theremin), the instrument has enjoyed a resurgence in interest and has become more widely used by contemporary musicians. Even though many theremin sounds can be approximated on many modern synthesizers, some musicians continue to appreciate the expressiveness, novelty and uniqueness of using an actual theremin. The film itself has garnered excellent reviews.

Today Moog Music, Dan Burns of soundslikeburns.com Chuck Collins of theremaniacs.com Wavefront Technologies and Kees Enkelaar manufacture performance-quality theremins. Theremin kit building remains popular with electronics buffs; kits are available from Moog Music, Theremaniacs, Harrison Instruments, PAiA Electronics, and Jaycar. On the other end of the scale, many low-end Theremins, some of which have only pitch control, are offered online and offline, sometimes advertised as toys.

Operating principles

A theremin is unique among musical instruments in that it is performed without being touched by the operator. The musician stands in front of the instrument and moves his or her hands in the proximity of two metal antennas. The distance from one antenna determines frequency (pitch), and the distance from the other controls amplitude (volume). Most frequently, the right hand controls the pitch and the left controls the volume, although some performers reverse this arrangement. Additionally, some theremins use a volume dial and have only one antenna.

A theremin uses the heterodyne principle to generate an audio signal. The instrument's circuitry includes two radio frequency oscillators. One oscillator operates at a fixed frequency. The other is a variable frequency oscillator, the frequency of which is controlled by the performer's distance from the frequency control antenna. The performer's hand acts as the grounded plate (the performer's body being the connection to ground) of a variable capacitor in an L-C (inductance-capacitance) circuit. The difference between the frequencies of the two oscillators at each moment generates a beat frequency in the audio frequency range, resulting in audio signals that are amplified and sent to a loudspeaker.

To control volume, the performer's hand acts as the grounded plate of another variable capacitor. In this case, the capacitor detunes another L-C circuit, which affects the amplifier circuit. The distance between the performer's hand and the volume control antenna determines the capacitor's value, which regulates the theremin's volume.

Performance technique

Easy to learn but notoriously difficult to master, theremin performance presents two challenges: reliable control of the instrument's pitch with no guidance (no keys, valves, frets, or finger-board positions), and minimizing undesired portamento that is inherent in the instrument's microtonal design.

Pitch control is challenging because, like a violin or trombone, a theremin generates tones of any pitch throughout its entire range, including those that lie between the conventional notes. In the case of some string instruments, the range is divided along the strings by use of length divisions (e.g., frets on a guitar). By contrast, in the case of the theremin, the entire range of pitches is controlled by the distance of the performer's hand or fingers to the pitch antenna in mid-air. Precise control of manual position coupled with an excellent sense of pitch is required, since the electromagnetic field around the antenna tends to change slowly over time, resulting in changing positions of individual pitches.

Also, the theremin's continuous range of pitches lends itself to glissando playing, which can be inappropriate to the piece being performed. Skilled performers, through rapid and exact hand movements, minimize undesired portamento and glissando to play individual notes and can even achieve staccato effects. Small and rapid movements of the hands can create tremolo or vibrato effects.

Although pitch is governed primarily by the distance of the performer's hand to the pitch antenna, most precision thereminists augment their playing techniques with a system called "aerial fingering", largely devised by Clara Rockmore and subsequently extended by Lydia Kavina. It employs specific hand and finger positions to alter slightly the amount of capacitance relative to the pitch antenna to produce small changes in tone quickly and in a manner that can be reliably reproduced.

An alternate and controversial "hands on" technique is called "angling" in which the pitch control hand is actually set on the top of the theremin which violates the "no touch" creed of traditionalists. It employs changing the angle of the hand and fingers to alter the pitch and repositioning the hand if the pitch interval is too large for "angling". By touching the instrument, the effect on pitch of extraneous movement is dampened. This permits the use of steady pitches without vibrato and without remaining perfectly still.

Equally important in theremin articulation is the use of the volume control antenna. Unlike touched instruments, where simply halting play or damping a resonator silences the instrument, the thereminist must "play the rests, as well as the notes", as Ms. Rockmore observes. Although volume technique is less developed than pitch technique, some thereminists have worked to extend it, especially Pamelia Kurstin's "walking bass" technique.

Skilled players who overcome these challenges by a precisely controlled combination of movements can achieve complex and expressive performances, and thus realize a theremin's potential.

Some thereminists in the avant-garde openly rebel against developing any formalized technique, viewing it as imposing traditional limitations on an instrument that is inherently free form. These players choose to develop their own highly personalized techniques. The question of the relative value of formal technique versus free form performances is hotly debated among thereminists. Theremin artist Anthony Ptak uses antenna interference in live performance.

A theremin in use

In artistic music

Lydia Kavina, protégée of Léon Theremin and instructor to other thereminists.

Theremins are popular instruments among avant-garde and new music artists because of their perceived freedom from traditional compositional structures. It is also performed as a classical instrument, and is occasionally used in jazz improvisation.

Classical composers who have written for theremin include Bohuslav Martinů, Dmitri Shostakovich, Percy Grainger, Christian Wolff, Joseph Schillinger, Alan Hovhaness, Edgar Varese, Moritz Eggert, Iraida Yusupova, Jorge Antunes, Vladimir Komarov, Anis Fuleihan and Dalit Warshaw.

A recent classical composition utilizing the Theremin is Lera Auerbach's ballet The Little Mermaid, a three hour production featuring the theremin as the mermaid's voice throughout. The Royal Danish Ballet commissioned Russian- North American composer Lera Auerbach to make a modern rendition of this fairy tale. It premiered on April fifteenth, 2005 with Lydia Kavina as the theremin soloist. Lydia Kavina also performed in Olga Neuwirth's opera Bählamms Fest (after Leonora Carrington's Baa-Lamb's Holiday), which premiered in 1999. Elizabeth Brown composed "Rural Electrification", a chamber opera for voice, theremin and recorded sound, as well as "Piranesi" for theremin and string quartet and "Atlantis" for theremin and guitar.

Carolina Eyck, Thereminist

Dalit Warshaw, a student of Clara Rockmore, is a composer, pianist and thereminist who has performed on the instrument with such ensembles as the New York Philharmonic and the Royal Stockholm Philharmonic, among others. Works written for theremin by Dalit Warshaw have been performed at Lincoln Center, Steinway Hall and at the L.A. Philharmonic's Disney Hall.

Russian thereminist and composer Lydia Kavina is widely regarded as the greatest living theremin virtuoso. She is the niece of one of Léon Theremin's first-degree cousins. Kavina was Theremin's protégé. Her repertoire consists primarily of classical and neo-classical compositions, many of which were written for the instrument. Many thereminists have studied under Ms. Kavina, including German thereminists Barbara Buchholz and Carolina Eyck, English thereminists Bruce Woolley (of The Radio Science Orchestra) and Miss Hypnotique, and Japanese thereminist Masami Takeuchi.

Pamelia Kurstin is a thereminist whose eclectic styles and innovations continue to expand the instrument's range. She performs solo in the classical and jazz idioms, as well as in ethnic and avant-rock music with the band Barbez.

Armen Ra specializes in performing Armenian music. Other performers of note include American jazz thereminist Eric Ross, Peter Pringle, Charles Richard Lester, and Eri Ii of Japan. U.K. based Beatrix Ward-Fernandez is a young improvisor. Rupert Chappelle is a eclectic composer/performer who performs solo and with the avant-pop band Rupert and Art.

In popular music

Theremin sounds have been incorporated into many popular music songs from the 1960s through the present.

Theremins have also been used in live concerts and in the studio by artists such as IQU, Lothar and the Hand People, Gabby La La, Les Claypool's Fancy Band, Chimaira, Muse, Street Drum Corps, Olivia Tremor Control, Phish, The Cramps, Pixies, The Flaming Lips, Tripod, Clinic, Chris Funk (The Decemberists), The Mars Volta, The Polyphonic Spree, The Family Jewels, Fishbone, Jean Michel Jarre, Portishead, Jon Spencer Blues Explosion, Charlie Clouser (Nine Inch Nails), Madonna Wayne Gacy (Marilyn Manson), Natalie Naveira (Lendi Vexer), Bill Bailey, Nikki Sixx, Rocket Science, Pere Ubu, Keller Williams, Michael Hearst, One Ring Zero, The Damned (by Dave Vanian), Green Carnation, Gandalf Murphy and the Slambovian Circus of Dreams, Russian duet Messer Chups, Patrick Wolf, DeVotchKa, Roy Harter, Pram, Soular, The Phenomenauts, Black Moth Super Rainbow (in certain tracks), Chris Kilmore (Incubus), The Octopus Project (by Yvonne Lambert), Wolf Parade (by Hadji Bakara), Coheed and Cambria, Älymystö and Serj Tankian.

Brian Jones, founder of The Rolling Stones, used a theremin for the song "Please Go Home" off the 1967 albums Between the Buttons (UK version only) and Flowers.

A theremin solo was featured in live versions of the song "Whole Lotta Love" and "No Quarter", by the band Led Zeppelin, the instrument being played by the band's guitarist, Jimmy Page.

The Lothars are a Boston-area band whose CDs have featured as many as four theremins played at once.

IQU's Kento Oiwa is a virtuoso thereminist and has used the instrument in the recording of many of their songs, as well as to cover Minnie Riperton's "Lovin' You."

Other bands and artists occasionally using a theremin are Alison Goldfrapp in the song "Train", Marilyn Manson in "Dope Hat", Les Claypool's Fancy Band in "Of Whales and Woe", Simon and Garfunkel on the album "Old Friends: Live on Stage" (played by keyboardist Rob Schwimmer), Supergrass in the song "Richard III", Ulver on the album "Shadows of the Sun", Tiamat on the album "A Deeper Kind of Slumber", Brazilian psychedelic band Os Mutantes, Project: Pimento, John Otway, and Timbaland on the album "Shock Value". Roger Ruskin Spear of the Bonzo Dog Doo Dah Band uses a theremin "leg" in the song "Noises for the Leg" on their album "Keynsham", whereas Rapper Paul Wall features a looped (screwed and chopped) theremin on his single "I'm Throwed" (featuring Jermaine Dupri.)

HORSE the band also had a former theremin player.

Contrary to popular belief, the theremin was not used on the 1966 recording of "Good Vibrations" by The Beach Boys, which featured Paul Tanner's "box", later called the electro-theremin. However, for concert appearances, an oscillator slide-controller was designed and built for Wilson by Robert Moog. Wilson helped to popularize the instrument when he recorded Paul Tanner playing his electro-theremin -- for the first time in recorded music history -- on the song "I Just Wasn't Made For These Times." The song appeared on The Beach Boys' 1966 album Pet Sounds, considered one of the most influential albums in popular music history.

Even though credited with a "theramin" on the album "Dummy", Portishead use a monophonic synthesizer to achieve theremin-like effects, and not a theremin.

In the Aesop Rock track "39 Thieves" off of the album "None Shall Pass", DJ Big Wiz uses a theremin hooked up to a DJ mixer during the break. He controls the frequency of the theremin with one hand, and manipulates the cross fader with the other resulting in a very original sound.

Dead To Fall used a theremin on the recording of their track, "The Future" on their 2008 album, "Are You Serious?". Arthur Harrison of The Cassettes was recruited to perform with it on the recording.

In movies and movie soundtracks

The Russian Dmitri Shostakovich was the first composer to include parts for the theremin in orchestral pieces, including a use in his score for the 1931 film Odna. While the theremin was not widely used in classical music performances, the instrument found great success as the 'eerie' background sound in countless motion pictures, notably, Spellbound, The Red House, The Lost Weekend, The Spiral Staircase, The Day the Earth Stood Still, The Thing (From Another World), The Ten Commandments (the 1956 DeMille film). The theremin is used as a melodic solo instrument, rather than as a sound effect, in the soundtracks of Raw Deal, Bartleby, Monster House, Ed Wood, and The Machinist (both featuring Lydia Kavina). The DVDs for Ed Wood and Bartleby both contain short features on the theremin. Robby Virus, the founder and theremin player of the band Project:Pimento, was featured on the soundtrack to the movie Hellboy (2004).

Throughout the theremin's use in film music from the 1940s to the 1960s, its sound was equated with the bizarre and alien. Because of Clara Rockmore's professed distaste for such projects, the thereminist most commonly enlisted to perform anything from haunting melodies to eerie sound effects was Dr. Samuel Hoffmann, whose performances can be heard most prominently in the soundtracks for Spellbound (1945) and The Day the Earth Stood Still (1951). Ronald Stein was a composer of soundtracks who also played theremin for movies such as "The She Creature" (1956) and the "Queen of Blood" (1966).

Actor Jerry Lewis plays a theremin briefly in the 1957 Paramount film The Delicate Delinquent. The latter part of the scene actually uses thereminist Samuel Hoffman in the soundtrack, to which Jerry Lewis mimes the motions of playing the instrument.

It is often believed that the theremin was used for the soundtrack of Forbidden Planet. In fact, Louis and Bebe Barron built oscillator circuits and a ring modulator to create the 'electronic tonalities' for the film.

Lydia Kavina's solo theremin is featured on the soundtrack for the 2006 MMORPG computer game Soul of the Ultimate Nation, composed by Howard Shore.

Bruce Woolley provided all the Theremin parts for "Storm" the title song of The Avengers movie and also the 'Sound Of Music' sequence in Baz Luhrmann's Moulin Rouge!

Los Angeles-based thereminist Charles Richard Lester is featured on the soundtrack of Monster House and has performed the US premiere of Gavriil Popov's 1932 score for Komsomol--Patron of Electrification with the L. A. Philharmonic and Esa-Pekka Salonen in 2007.

In the 2007 biopic parody film Walk Hard: The Dewey Cox Story, Dewey Cox suggests to one of his band members that he open his mind, and learn to play the Theremin. It comes at a time when Dewey is using LSD pretty heavily, and has been working on his "masterpiece" album which is one very long song with countless obscure instruments, a full symphony, a vocal accompanyment of Aboriginees, a goat, etc.

In television

• The classic sci-fi anthology series The Outer Limits used the theremin in its second season opening theme.
• The original series of Star Trek used a theremin in the opening theme music.
• The television situation comedy My Favorite Martian employed a theremin in its theme music composed by George Greeley. In addition, the instrument was used whenever Uncle Martin (Ray Walston) practiced his powers of levitation or raised his antennae.
• The British television series Midsomer Murders uses a theremin in its popular theme tune as well as in underscore. The theremin part is played by Celia Sheen.

• Bill Bailey, English comedian also uses a theremin in live performances on his stand up tours.
• In "The Ziff Who Came To Dinner" from The Simpsons, Homer becomes upset when he believes that someone is playing his theremin in the attic.
• In the fifteenth episode of Mahou Sentai Magiranger "The Bride's Elder Brother ~Giruma Magi Majuna~", the Magiranger use a device known as the "Tell Me Theremin" which has supposedly not been used in 250 years.
• In May, 2007, the White Castle American hamburger restaurant chain introduced a television ad featuring a theremin performance by musician Jon Bernhardt of the band The Lothars.
• In the Comedy Central travel program Wanderlust, host Gerhard Reinke is a theremin enthusiast and plays the instrument alongside traditional Irish musicians in a pub.
• In episode "Roger Codger" of American Dad! Stan says "I'll check out this lab, where the Theremin music is coming from" while searching for Roger the alien.
• On an episode of NickJr's Yo Gabba Gabba, musician Sukho Lee plays a lullaby on the Theremin in the "Cool Tricks" segment.
• In the Episode The Farnsworth Parabox of the tv show Futurama the Theremin is used extensively to cue the difference between the normal universe and the parallel universe. In addition, in a later episode's commentary, series creator Matt Groening discusses his experiences and difficulties with buying and building his own Theremin.

In books

• In the novel Hannibal, Hannibal Lecter buys and plays a theremin as well as other musical instruments.
• A theremin is played at a wedding ceremony in the Herman Wouk novel Marjorie Morningstar

Similar instruments

• The Ondes-Martenot also uses the principle of heterodyning oscillators, but has a keyboard as well as a slide controller and is touched while playing.
• The Electro-Theremin (or Tannerin) does not use heterodyning oscillators and has to be touched while playing, but it allows continuous variation of the frequency range and sounds similar to the theremin.
• The Persephone, an analogue fingerboard synthesizer with CV and MIDI, inspired from Les Ondes Martenots or the Trautonium. The Persephone allows continuous variation of the frequency range from 1 to 10 octaves. The ribbon is pressure and position sensitive.
• The Electronde, invented in 1929 by Martin Taubman, has an antenna for pitch control, a handheld switch for articulation and a foot pedal for volume control.
• The Syntheremin is an extension of the theremin.
• The Croix Sonore (Sonorous Cross), is based on the theremin. It was developed by Russian composer Nicolas Obouchov in France, after he saw Lev Theremin demonstrate the theremin in 1924.
• The terpsitone, also invented by Theremin, consisted of a platform fitted with space-controlling antennas, through and around which a dancer would control the musical performance. By most accounts, the instrument was nearly impossible to control. Of the three instruments built, only the last one, made in 1978 for Lydia Kavina, survives today.
• The Z.Vex Effects Fuzz Probe, Wah Probe and Tremolo Probe, using a theremin to control said effects. The Fuzz Probe can be used as a theremin, as it can through feedback oscillation create tones of any pitch.
• The Haken Continuum Fingerboard uses a continuous, flat playing surface along which the player slides his fingers to create the desired pitch and timbre values. Describable as "a continuous pitch controller that resembles a keyboard, but has no keys."

See also

• American Museum of Radio and Electricity, which features a theremin that visitors can play
• The Pacific Science Center also has a theremin on display that guests can try to play. It is located in the lobby of the Boeing IMAX Theater building.

References

Publications

• Rockmore, Clara (1998). Method for Theremin. Edited by David Miller & Jeffrey McFarland-Johnson. Made publicly available at [1] [pdf]
• Eyck, Carolina (2006). The Art of Playing the Theremin. Berlin: SERVI Verlag. ISBN 3-933757-08-8.
• Glinsky, Albert (2000). Theremin: Ether Music and Espionage. Urbana, Illinois: University of Illinois Press. ISBN 0-252-02582-2.

Film and video

• Martin, Steven M. (Director) (1995). Theremin: An Electronic Odyssey (Film and DVD). Orion/MGM.
• Olsen, William (Director) (1995). Mastering the Theremin (Videotape (VHS) and DVD). Moog Music and Little Big Films.

External links

• ThereminWorld.com
• ThereminVox.com
• oddmusic.com theremin page
• TECI: Theremin Enthusiasts Club International
• Theremin.info
• Clara Rockmore playing "The Swan" (Saint-Saëns)
• Ted.com: Pamelia Kurstin plays and discusses her theremin
• Dr. Samuel Hoffman, Hollywood's premiere thereminist
• Art's Theremin Page: Complete construction plans for solid state and vacuum tube theremins
• Theremin Music Gaining Popularity - Audio: KPLU's Bellamy Pailthorp reports.
• CamTheremin: A freeware program simulating theremin with your webcamera.
• Pekkanini Swedish composer and thereminist