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Experiments in Sound and Electronic Music in Koenig Books Isbn 978-3-86560-706-5 Early 20Th Century Russia · Andrey Smirnov

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Experiments in Sound and Electronic Music in Koenig Books Isbn 978-3-86560-706-5 Early 20Th Century Russia · Andrey Smirnov SOUND IN Z Russia, 1917 — a time of complex political upheaval that resulted in the demise of the Russian monarchy and seemingly offered great prospects for a new dawn of art and science. Inspired by revolutionary ideas, artists and enthusiasts developed innumerable musical and audio inventions, instruments and ideas often long ahead of their time – a culture that was to be SOUND IN Z cut off in its prime as it collided with the totalitarian state of the 1930s. Smirnov’s account of the period offers an engaging introduction to some of the key figures and their work, including Arseny Avraamov’s open-air performance of 1922 featuring the Caspian flotilla, artillery guns, hydroplanes and all the town’s factory sirens; Solomon Nikritin’s Projection Theatre; Alexei Gastev, the polymath who coined the term ‘bio-mechanics’; pioneering film maker Dziga Vertov, director of the Laboratory of Hearing and the Symphony of Noises; and Vladimir Popov, ANDREY SMIRNO the pioneer of Noise and inventor of Sound Machines. Shedding new light on better-known figures such as Leon Theremin (inventor of the world’s first electronic musical instrument, the Theremin), the publication also investigates the work of a number of pioneers of electronic sound tracks using ‘graphical sound’ techniques, such as Mikhail Tsekhanovsky, Nikolai Voinov, Evgeny Sholpo and Boris Yankovsky. From V eavesdropping on pianists to the 23-string electric guitar, microtonal music to the story of the man imprisoned for pentatonic research, Noise Orchestras to Machine Worshippers, Sound in Z documents an extraordinary and largely forgotten chapter in the history of music and audio technology. ‘It is without doubt the best thing that I have ever read on the topic of graphical sound and synthesis, in either the historical or contemporary context. I feel many scholars of computer music and graphic sound will feel similarly to the way I felt when reading it – it’s truly breathtaking’. Dr. M. S. Grierson, Goldsmiths College, London Verlag der Buchhandlung Walther König EXPERIMENTS IN SOUND AND ELECTRONIC MUSIC IN KOENIG BOOKS ISBN 978-3-86560-706-5 EARLY 20TH CENTURY RUSSIA · ANDREY SMIRNOV Published 2013 Inside front cover image: The Symphony of Sirens. Performance in Moscow, 7.11.1923. Sound and Music, London René Fülöp-Miller, Geist Und Gesicht Des Bolschewismus. Amalthea-Verlag, Vienna 1926. Koenig Books, London SOUND IN Z Experiments in Sound and Electronic Music in Early 20th Century Russia ANDREY SMIRNOV 1 We dedicate this book to Mikhail Khodorkovsky, © 2013 Andrey Smirnov for all text and images unless otherwise stated and all victims of the ongoing political reprisals in Russia, © 2013 Sound and Music, London / Koenig Books, London all those who are strong in spirit, who believe in the value of an open society, Editor: Matt Price striving for democracy, knowledge, intellectual honesty and integrity, Sub-editor: William Lambie resisting dictatorship, lies, cynicism, violence, obscurantism and Design: Modern Activity ignorance, even at the cost of their own freedom. First published by Koenig Books, London in partnership with Sound and Music, London. Moscow, August 2012 Koenig Books Ltd At the Serpentine Gallery Kensington Gardens London W2 3XA www.koenigbooks.co.uk All rights reserved. No part of this publication may be produced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. Distribution: Buchhandlung Walther König, Cologne Ehrenstr. 4, 50672 Cologne Tel: +49 (0) 221 / 20 59 6 53 Fax: +49 (0) 221 / 2- 59 6 60 [email protected] Distribution for UK & Eire Cornerhouse Publications 70 Oxford Street, GB-Manchester M1 5NH Tel +44 (0) 161 200 15 03, Fax +44 (0) 161 200 15 04 [email protected] Distribution outside Europe D.A.P. / Distributed Art Publishers, Inc. 155 6th Avenue, 2nd Floor, USA-New York, NY 10013 Tel. +1 (0) 212 627 1999, Fax +1 (0) 212 627 9484 [email protected] ISBN: 978-3-86560-706-5 Printed in the Czech Republic by Graspo Munken Print paper by Arctic Papers Set in Lettera and Bannikova Bannikova was designed at Polygraphmash type design bureau in 1946-51 by Galina Bannikova, inspired by Russian Grazhdansky early- and mid-18th century typefaces as well as Roman Humanist typefaces of the Renaissance. The revised, improved and completed digital version was designed at ParaType in 2001 by Lyubov Kuznetsova. 3 FOREWORD Jeremy Deller and Matt Price 4 5. THE REVOLUTIONARY SOUND MACHINES NOISE ORCHESTRA 135 TALKING MACHINES 136 PREFACE Andrey Smirnov 6 VARIOUS SOUND MACHINES 142 THE SYMPHONY OF SIRENS 148 ORDER 06 152 TREASURE HUNTERS OF THE 1920s Liubov Pchelkina 9 6. SOUND vs. IMAGE 1. IN THE BEGINNING WAS THE WORD SOUND-ON-FILM TECHNOLOGY 155 AT THE CROSSROADS 21 RADIO THEATRE 156 FREE MUSIC 22 ORGANIZING SOUND 159 THE LABORATORY OF HEARING 25 EISENSTEIN — MONTAGE 164 UPCOMING SCIENCE OF MUSIC 28 DZIGA VERTOV — ENTHUSIASM: SYMPHONY OF THE DONBASS 166 THE ENEMY OF MUSIC 33 AUDIO-VISUAL SPACE 167 THE MECHANICAL ORCHESTRA 33 SHUMOVIKS AND PRACTICAL SOUND DESIGN 170 THE LEONARDO DA VINCI SOCIETY 39 7. GRAPHICAL SOUND 2. THEREMIN SOUND-ON-FILM AND GRAPHICAL SOUND 175 REVIVAL OF MUSIC — THE THEREMIN 43 HAND-DRAWN ORNAMENTAL SOUND 177 LEON THEREMIN 44 PAPER SOUND 182 THE THEREMIN 58 THE VARIOPHONE 195 THE TERPSITONE 63 BORIS YANKOVSKY — SYNTHETIC ACOUSTICS 208 THE RHYTHMICON 65 AUDIO COMPUTING 211 THE HARMONIUM 67 SYNTONES AND SYNTHETIC INSTRUMENTS 214 VISUAL MUSIC 70 THE VIBROEXPONATOR — HOW IT WORKS 219 EAVESDROPPING AND MICROWAVE ATTACKS 71 ACHIEVEMENTS BY 1940 AND FUTURE PROSPECTS 221 EAVESDROPPING ON PIANISTS 74 THE ANS SYNTHESIZER 229 BACK TO SYNAESTHESIA 235 3. NEW TRENDS AND INSTITUTIONS PROLETKULT 79 8. THE DESTRUCTION OF UTOPIA GINHUK — THE PHONOLOGICAL DEPARTMENT 80 THE STATE VS. SOCIETY 239 GIMN — THE STATE INSTITUTE FOR MUSICAL SCIENCE 82 UTOPIA VS. ANTI-UTOPIA 240 MICROTONAL MUSIC 90 BUILT INTO THE MACHINE 245 NEW ELECTRONIC MUSICAL INSTRUMENTS 94 ONE MONTH IN THE LIFE OF EVGENY SHOLPO 247 CIT — THE CENTRAL INSTITUTE OF LABOUR 99 ...THE TWENTY-THREE-STRING ELECTRIC GUITAR 250 ORDER 05 106 THE PROFESSOR IMPRISONED FOR PENTATONIC RESEARCH 257 ANDROID 111 LEON THEREMIN 257 IGOR TERENTIEV 258 VSEVOLOD MEYERHOLD 259 4. THE ART OF MOVEMENT ALEXEI GASTEV 260 BIOMECHANICS 115 EPILOGUE 261 THE PROJECTION THEATRE 117 PROJECTION THEATRE WORKSHOPS 128 MACHINE WORSHIPPERS 131 INDEX 263 ACKNOWLEDGEMENTS 281 5 FOREWORD This publication offers an introduction to Russia’s contribution to Much interesting and significant material from history doesn’t the birth of electronic music, sound synthesis and audio technology in the ever come to light, is forgotten or overlooked, whether for political or early 20th Century. It is a story of politics and power, of the institution and financial reasons, because stories are not well documented or simply the avant-garde, of collaboration and personal achievement, of ambition, because they are just not heard by the right people at the right time. opportunity and oppression. It is a story of remarkable personalities, curious A lot of material from the first half of the 20th Century was actively inventions, astonishing performances, radical ideas, complex mathematics, destroyed or written out of the history books as it did not fit within the pioneering electronics, engineering, design and experimentation. It is also a Stalinist regime’s vision of what sound and music technology should be. story of patents and funding applications, of success and failure, support and Smirnov has been piecing together many of the interconnected strands rejection, optimism and disillusionment, hunger and poverty. of research by key figures of the period, many of whom fell out of favour It is a story of which only fragments are known, not only in the West with the authorities, or were even sentenced to death for their work. It is but also within Russia itself. Increased interest in this area in the past two to be hoped that their stories and research are given renewed attention decades — not least in the life and work of Leon Theremin — has seen more as a result of Sound in Z, and that Smirnov’s own contribution to the scholarly research in the field. Sound in Z makes a valuable contribution to field also receives the recognition it deserves. this revival of interest and is intended as a catalyst for further academic research. Consequently, much visual and textual material featured here has rarely — if ever — been seen either in print or in English before. Jeremy Deller and Matt Price Andrey Smirnov has devoted much of his professional and personal life to researching this field. His passion, enthusiasm and devotion to the subject are clear to anyone who meets or works with him. Beyond this, though, there is a sense that Smirnov has a real affinity with the protagonists of this story, the Russian men and women who contributed to the early development of electronic music and sound synthesis — it is almost as if he is one of them, just from a different time. His knowledge and expertise, both in terms of understanding the technology and of researching the wider history, have been crucial not only for this publication, but for his life-long endeavours to bring the material to light and into the international critical arena. As Director of the Theremin Centre at Moscow State Conservatory, Smirnov has worked tirelessly to develop and to explore the Centre’s archives, as well as in innumerable other libraries, museums and private archives, even tracking down living descendants in his quest to unearth new archival materials. Smirnov’s own personal collection and library have been equally invaluable to the research presented here. This publication is the result of a combination of factors and cir- cumstances.
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