A historical and organological analysis of early electronic musical instruments

Öz

This study aims to explore early electronic musical instruments developed between the late 19th century and the mid-1980s within the frameworks of both the history of technology and organology. The research examines six main developmental phases: from electromechanical systems to vacuum tube technologies; from magnetic tape-based studio practices to voltage-controlled modular synthesizers; and from the era of digital synthesis to the MIDI era. Employing a qualitative and historical-descriptive research design, the study is conducted through secondary sources drawn from the literature on the history of electronic music, sound technologies, and instrument design. Instruments such as the Telharmonium, Theremin, Ondes Martenot, Hammond organ, RCA Mark II, Moog and Buchla systems, as well as the Minimoog, Prophet-5, Synclavier, Fairlight CMI, and Yamaha DX7, are analyzed through case studies with regard to their technical features, performance interfaces, aesthetic approaches, and organological characteristics. The findings reveal that the historical development of electronic musical instruments is not merely a linear sequence of technical innovations, but rather reflects a profound transformation in the very concept of what constitutes a musical instrument. During the electromechanical era, the definition of the instrument expanded to encompass entire buildings and their transmission infrastructures. The vacuum tube era introduced novel possibilities for touchless performance and hybrid interface designs. In the era of magnetic tape-based studios, the instrument evolved into a spatial structure that extended across the entire studio environment. The emergence of voltage-controlled synthesizers and integrated systems reshaped the relationship between performer and instrument, emphasizing real-time, performative control. With the advent of digital synthesis and MIDI technology, the physicality of the instrument progressively gave way to software-based interfaces and digitally defined configurations. In conclusion, this study demonstrates that examining early electronic musical instruments through the lens of organology not only enriches discussions on instrument classification and the history of music technology but also offers a framework for reconceptualizing the term electronic instrument as a living, evolving, and dynamic organological category.