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Theremin
Theremin

A Moog Etherwave, assembled from a

theremin kit: the loop antenna on the left
controls the volume while the upright antenna
controls the pitch.
Electronic instrument
Hornbostel–Sachs 531.1[1]
classification (Electrophone)
Inventor(s) Leon Theremin
Developed 1920; patented in
1928

Epro theremin in middle range

0:15

J. S. Bach's "Jesu, Joy of Man's Desiring" played by Italian thereminist Fabio Pesce on a Moog
Etherwave theremin

Problems playing this file? See media help.

The theremin (/ˈθɛrəmɪn/; originally known as the ætherphone, etherphone,

thereminophone[2] or termenvox/thereminvox) is an electronic musical instrument
controlled without physical contact by the performer (who is known as a thereminist). It is named
after its inventor, Leon Theremin, who patented the device in 1928.

The instrument's controlling section usually consists of two metal antennas which function not as
radio antennas but rather as position sensors. Each antenna forms one half of a capacitor with each
of the thereminist's hands as the other half of the capacitor. These antennas capacitively sense the
relative position of the hands and control oscillators for frequency with one hand, and amplitude
(volume) with the other. The electric signals from the theremin are amplified and sent to a
loudspeaker.

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The sound of the instrument is often associated with eerie situations. The theremin has been used
in movie soundtracks such as Miklós Rózsa's Spellbound and The Lost Weekend, Bernard
Herrmann's The Day the Earth Stood Still, and Justin Hurwitz's First Man, as well as in theme
songs for television shows such as the ITV drama Midsomer Murders and the Disney+ series Loki,
the latter composed by Natalie Holt. The theremin is also used in concert music (especially avant-
garde and 20th- and 21st-century new music); for example, Mano Divina Giannone is a popular
American thereminist[3] who along with his orchestra, The Divine Hand Ensemble, regularly holds
said concerts. It is also used in popular music genres, such as rock.

History CC

The theremin was the product of Soviet government-

sponsored research into proximity sensors. The instrument
was invented in October 1920 by the Russian physicist Lev
Sergeyevich Termen, known in the West as Leon
Theremin.[4][5] After a lengthy tour of Europe, during 1:33
which time he demonstrated his invention to packed
houses, Theremin moved to the United States, where he Leon Theremin demonstrating and
patented his invention in 1928.[6] Subsequently, Theremin playing the 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. Joseph Whiteley (1894–1984)
performed under the stage name Musaire and his 1930
RCA Theremin can be seen, played and heard at the
Musical Museum, Brentford, England.[7]

During the 1930s, Lucie Bigelow Rosen was also taken with
the theremin and together with her husband Walter
Bigelow Rosen provided both financial and artistic support
to the development and popularisation of the
instrument.[8][9] Alexandra Stepanoff playing the theremin
on NBC Radio
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 NKVD agents (preceding
the KGB),[10] taken back to the Soviet Union and made to work in a sharashka laboratory prison
camp at Magadan, Siberia. He reappeared 30 years later. In his 2000 biography of the inventor,
Theremin: Ether Music and Espionage, Albert Glinsky suggested he had fled to escape crushing
personal debts, and was then caught up in Stalin's political purges. In any case, Theremin did not
return to the United States until 1991.[11]

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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
The components of a modern Moog
that were intended to be assembled by the customer. Moog theremin, in kit form
credited what he learned from the experience as leading
directly to his groundbreaking synthesizer, the Moog.
(Around 1955, a colleague of Moog's, electronic music pioneer Raymond Scott, purchased one of
Moog's theremin subassemblies to incorporate into a new invention, the Clavivox, which was
intended to be an easy-to-use keyboard theremin.)[12][13]

Since the release of the film Theremin: An Electronic Odyssey in 1993, 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 received positive reviews.[14]

Both theremin instruments and kits are available. The Open Theremin, an open hardware and
open software project, was developed by Swiss microengineer Urz Gaudenz, using the original
heterodyne oscillator architecture for a good playing experience,[15] combined with Arduino. Using
a few extra components, a MIDI interface can be added to the Open Theremin, enabling a player to
use their theremin to control different instrument sounds.[16]

The theremin's singular operation method has been praised for providing an accessible route to
music-making for people with disabilities.[17]

Operating principles
The theremin is distinguished among musical instruments in that it is played without physical
contact. The thereminist stands in front of the instrument and moves their hands in the proximity
of two metal antennas. While commonly called antennas, they are not used as radio antennae for
receiving or broadcasting radio waves, but rather act as plates of capacitors. The distance from one
antenna determines frequency (pitch), and the distance from the other controls amplitude
(volume). Higher notes are played by moving the hand closer to the pitch antenna. Louder notes
are played by moving the hand away from the volume antenna.

Most frequently, the right hand controls the pitch and the left controls the volume, although some
performers reverse this arrangement. Some low-cost theremins use a conventional, knob-operated
volume control and have only the pitch antenna.

The theremin uses the heterodyne principle to generate an audio signal. The instrument's pitch
circuitry includes two radio frequency oscillators set below 500 kHz to minimize radio
interference. One oscillator operates at a fixed frequency. The frequency of the other oscillator is
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almost identical, and is controlled by the

performer's distance from the pitch
control antenna.

The performer's hand has significant

body capacitance, and thus can be
treated as the grounded plate of a
variable capacitor in an L-C (inductance-
capacitance) circuit, which is part of the
oscillator and determines its frequency.
In the simplest designs, the antenna is
directly coupled to the tuned circuit of
the oscillator and the 'pitch field', that is
the change of note with distance, is
Block diagram of a theremin. Volume control in blue, pitch
highly nonlinear, as the capacitance
control in yellow and audio output in red.
change with distance is far greater near
the antenna. In such systems, when the
antenna is removed, the oscillator moves up in frequency.

To partly linearise the pitch field, the antenna may be wired in series with an inductor to form a
series tuned circuit, resonating with the parallel combination of the antenna's intrinsic capacitance
and the capacitance of the player's hand in proximity to the antenna. This series tuned circuit is
then connected in parallel with the parallel tuned circuit of the variable pitch oscillator. With the
antenna circuit disconnected, the oscillator is tuned to a frequency slightly higher than the stand-
alone resonant frequency of the antenna circuit. At that frequency, the antenna and its
linearisation coil present an inductive impedance; and when connected, behaves as an inductor in
parallel with the oscillator. Thus, connecting the antenna and linearising coil raises the oscillation
frequency. Close to the resonant frequency of the antenna circuit, the effective inductance is small,
and the effect on the oscillator is greatest; farther from it, the effective inductance is larger, and
fractional change on the oscillator is reduced.

When the hand is distant from the antenna, the resonant frequency of the antenna series circuit is
at its highest; i.e., it is closest to the free running frequency of the oscillator, and small changes in
antenna capacitance have greatest effect. Under this condition, the effective inductance in the tank
circuit is at its minimum and the oscillation frequency is at its maximum. The steepening rate of
change of shunt impedance with hand position compensates for the reduced influence of the hand
being further away. With careful tuning, a near linear region of pitch field can be created over the
central two or three octaves of operation. Using optimized pitch field linearisation, circuits can be
made where a change in capacitance between the performer and the instrument in the order of
0.01 picofarads produces a full octave of frequency shift.[18]

The mixer produces the audio-range difference between the frequencies of the two oscillators at
each moment, which is the tone that is then wave shaped and amplified and sent to a loudspeaker.

To control volume, the performer's other hand acts as the grounded plate of another variable
capacitor. As in the tone circuit, the distance between the performer's hand and the volume control
antenna determines the capacitance and hence natural resonant frequency of an LC circuit
inductively coupled to another fixed LC oscillator circuit operating at a slightly higher resonant
frequency. When a hand approaches the antenna, the natural frequency of that circuit is lowered
by the extra capacitance, which detunes the oscillator and lowers its resonant plate current.
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In the earliest theremins, the radio frequency plate current of the oscillator is picked up by another
winding and used to power the filament of another diode-connected triode, which thus acts as a
variable conductance element changing the output amplitude.[19] The harmonic timbre of the
output, not being a pure tone, was an important feature of the theremin.[20] Theremin's original
design included audio frequency series/parallel LC formant filters as well as a 3-winding variable-
saturation transformer to control or induce harmonics in the audio output.[6]

Modern circuit designs often simplify this circuit and avoid the complexity of two heterodyne
oscillators by having a single pitch oscillator, akin to the original theremin's volume circuit. This
approach is usually less stable and cannot generate the low frequencies that a heterodyne oscillator
can. Better designs (e.g., Moog, Theremax) may use two pairs of heterodyne oscillators, for both
pitch and volume.[21]

Performance technique
Important in theremin articulation is the use of the volume
control antenna. Unlike touched instruments, where
simply halting play or damping a resonator in the
traditional sense silences the instrument, the thereminist
must "play the rests, as well as the notes", as Clara
Rockmore observed.[22]

If the pitch hand is moved between notes, without first

lowering the volume hand, the result is a "swooping" sound
A robot playing the theremin
akin to a swanee whistle or a glissando played on the
violin. Small flutters of the pitch hand can be used to
produce a vibrato effect. To produce distinct notes requires a pecking action with the volume hand
to mute the volume while the pitch hand moves between positions.

Thereminists such as Carolina Eyck use a fixed arm position per octave, and use fixed positions of
the fingers to create the notes within the octave, allowing very fast transitions between adjacent
notes.[23]

Although volume technique is less developed than pitch technique, some thereminists have worked
to extend it, especially Pamelia Kurstin with her "walking bass" technique[24] and Rupert
Chappelle.

The critic Harold C. Schonberg described the sound of the theremin as "[a] cello lost in a dense fog,
crying because it does not know how to get home."[25]

Uses

Concert music
The first orchestral composition written for theremin was Andrei Pashchenko's Symphonic
Mystery, which premiered in 1924.[26] However, most of the sheet music was lost after its second
performance.[27]

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Other concert composers who have written for theremin

include Bohuslav Martinů,[28] Percy Grainger,[28]
Christian Wolff,[28] Joseph Schillinger,[28] Moritz
Eggert,[29] Iraida Yusupova,[29] Jorge Antunes,[28]
Vladimir Komarov,[28] Anis Fuleihan,[30][31] and Fazıl
Say.[32] Another large-scale theremin concerto is Kalevi
Aho's Concerto for Theremin and Chamber Orchestra
"Eight Seasons" (2011), written for Carolina Eyck.

Edgard Varèse completed the composition "Equatorial" for

two theremin cellos and percussion in 1934. His work was
a stated influence throughout the career of Frank
Zappa,[33] who also composed for theremin.[34]

Maverick composer Percy Grainger chose to use ensembles

of four or six theremins (in preference to a string quartet)
for his two earliest experimental Free Music compositions
RCA AR-1264 Theremin in Musical
(1935–1937) because of the instrument's complete 'gliding'
Instrument Museum, Phoenix, Arizona
freedom of pitch.[35][36]

Musician Jean-Michel Jarre used the instrument in his

concerts Oxygène in Moscow in 1997 and Space of Freedom[37] in Gdańsk in 2005, providing also a
short history of Leon Theremin's life.

The five-piece Spaghetti Western Orchestra use a theremin as a replacement for Edda Dell'Orso's
vocals in their interpretation of Ennio Morricone's "Once Upon a Time in the West".[38]

Other notable contemporary theremin players include Pamelia Kurstin,[39] Peter Theremin,
Natasha Theremin, Katica Illényi.[40] and Lydia Kavina,[41] Dutch classical musician Thorwald
Jørgensen has been described as "one of the most important exponents of classical music on the
theremin".[42]

In 2019 in Kobe, Japan, the Matryomin ensemble, a group of 289 theremin players that included
Natasha Theremin, Masha Theremin and Peter Theremin, the daughter, granddaughter and great-
grandson of the inventor, achieved a Guinness world record as the largest ensemble of the
instrument. The name Matryomin is a portmanteau by its inventor of the words matryoshka and
theremin.[43] The theremin concerto "Dancefloor With Pulsing" by the French composer Regis
Campo was written for Carolina Eyck and premiered with the Brussels Philharmonic in 2018.[44]

Popular music
Theremins and theremin-like sounds started to be incorporated into popular music from the end of
the 1940s (with a series of Samuel Hoffman/Harry Revel collaborations)[45] and has continued,
with various degrees of popularity, to the present.

Lothar and the Hand People were the first rock band known to perform live with a theremin in
November 1965. In fact, Lothar was the name they gave to their Moog theremin.[46]

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The Beach Boys' 1966 single "Good Vibrations"—though it does not technically contain a theremin
—is the most frequently cited example of the instrument in pop music. The song actually features a
similar-sounding instrument invented by Paul Tanner called an Electro-Theremin.[47] Upon
release, the single prompted an unexpected revival in theremins and increased the awareness of
analog synthesizers.[48] In response to requests by the band, Moog Music began producing its own
brand of ribbon-controlled instruments which would mimic the sound of a theremin.[49]

Frank Zappa also included the theremin on the albums Freak Out! (1966) and We're Only in It for
the Money (1967).[34]

Jimmy Page of Led Zeppelin used a variation of the theremin (pitch antenna only) during
performances of "Whole Lotta Love" and "No Quarter" throughout the performance history of Led
Zeppelin, an extended multi-instrumental solo featuring theremin and bowed guitar in 1977, as
well as the soundtrack for Death Wish II, released in 1982.[50]

Brian Jones of the Rolling Stones also used the instrument on the group's 1967 albums Between
the Buttons and Their Satanic Majesties Request.[51]

Tesla guitarist Frank Hannon used a theremin in the band's song "Edison's Medicine" from the
1991 album Psychotic Supper.[52] Hannon is also seen using the instrument in the song's music
video at the 2:40 mark.[53]

The Lothars are a Boston-area band formed in early 1997 whose CDs have featured as many as four
theremins played at once – a first for pop music.[54][55]

Although credited with a "Thereman" [sic] on the track "Mysterons" from the album Dummy,
Portishead actually used a monophonic synthesizer to achieve theremin-like effects, as confirmed
by Adrian Utley, who is credited as playing the instrument;[56] on the songs "Half Day Closing",
"Humming", "The Rip", and "Machine Gun" he has actually used a custom-made theremin.[57]

Page McConnell, keyboardist of the American rock band Phish, plays the theremin on rare
occasions. His last notable performance was on 6 August 2017, the final evening of the band's 13-
night residency at Madison Square Garden.[58]

When Simon and Garfunkel performed their song "The Boxer" during a concert at Madison Square
Garden in December 2003, they utilized a theremin. The original recording of the song had
featured a steel guitar and a piccolo trumpet in unison in the solo interlude, but for this
performance, thereminist Rob Schwimmer played the solo.[59]

Film music
Russian composer Dmitri Shostakovich was one of the first to incorporate parts for the theremin in
orchestral pieces, including a use in his score for the film Odna (Russian: Одна, 1931, Leonid
Trauberg and Grigori Kozintsev). While the theremin was not widely used in classical music
performances, the instrument found great success in many motion pictures, notably, Spellbound,
The Red House, The Lost Weekend (all three of which were written by Miklós Rózsa, the composer
who pioneered the use of the instrument in Hollywood scores), The Spiral Staircase, Rocketship
X-M, The Day the Earth Stood Still, The Thing from Another World, Castle in the Air, and The
Ten Commandments.[60] The theremin is played and identified as such in the Jerry Lewis movie
The Delicate Delinquent. The theremin is prominent in the score for the 1956 short film A Short
Vision,[61] which was aired on The Ed Sullivan Show the same year that it was used by the
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Hungarian composer Mátyás Seiber. More recent appearances in film scores include Monster
House, Ed Wood, The Machinist[62] and The Electrical Life of Louis Wain[63] (2021), (last three
featuring Lydia Kavina), as well as First Man (2018).

A theremin was not used for the soundtrack of Forbidden Planet, for which Bebe and Louis Barron
built disposable oscillator circuits and a ring modulator to create the electronic tonalities used in
the film.[64][65]

Los Angeles–based thereminist Charles Richard Lester is featured on the soundtrack of Monster
House[66] and has performed the US premiere of Gavriil Popov's 1932 score for Komsomol –
Patron of Electrification with the Los Angeles Philharmonic and Esa-Pekka Salonen in 2007.[67]

In Lenny Abrahamson's 2014 film, Frank, Clara, the character played by Maggie Gyllenhaal, plays
the theremin in a band named Soronprfbs.[68]

Theatre and performing arts

Charlie Rosen, orchestrator of the Broadway musical Be More Chill, credits the show as being the
first on Broadway to have a theremin in its band.[69]

Television
In May 2007, the White Castle American hamburger restaurant chain introduced a television
advertisement[70] centered around a live theremin performance by musician Jon Bernhardt of
the band The Lothars. It is the only known example of a theremin performance being the focus
of an advertisement.[71]
Celia Sheen plays the theremin in the Midsomer Murders series.[72]
In October 2008, comedian, musician, and theremin enthusiast Bill Bailey played a theremin
during his performance of Bill Bailey's Remarkable Guide to the Orchestra at the Royal Albert
Hall, which has subsequently been televised. He had previously also written an article,[73]
presented a radio show[74] and incorporated the theremin in some of his televised comedy
tours.
Charlie Draper plays the theremin in the soundtrack (written by Natalie Holt) for TV series Loki
on Disney+.[75][76][77]

Video games
A theremin-inspired tune serves as the theme for the Edison family in the NES port of Maniac
Mansion[78]
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.[79]

The First Theremin Concert for Extraterrestrials

The First Theremin Concert for Extraterrestrials was the world's first musical METI broadcast
dispatched from the Evpatoria deep-space communications complex in Crimea,[80] and was sent
seven years before NASA's Across the Universe message. Seven different melodies were
transmitted from audio-cassette recordings of the theremin being played by Lydia Kavina, Yana
Aksenova, and Anton Kerchenko, all from the Moscow Theremin Center. These seven melodies
were:
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1. "Egress alone I to the Ride" by E. Shashina

2. The finale of the 9th Symphony by Beethoven
3. The Four Seasons: Spring, "Allegro" by Vivaldi
4. "The Swan" by Saint-Saens
5. "Vocalise" by Rachmaninoff
6. "Summertime" by Gershwin
7. Russian folk song "Kalinka-Malinka"
They were played in succession six times over the span of
three days from August–September 2001 during the Theremin performer Anton Kershenko
transmission of Teen Age Message, an interstellar radio and his young pupil at Eupatoria Deep
message.[80] Space Communication Center

Similar instruments
The Ondes Martenot, 1928, also uses the principle of
heterodyning oscillators, but has a keyboard as well as a slide
controller and is touched while playing.[82]
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.[83]
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 Museum visitor interacting with
in 1978 for Lydia Kavina, survives today. Artefact #VII at the Victoria and
Albert museum Prince Consort
The Z.Vex Effects Fuzz Probe, Wah Probe and Tremolo Probe,
Gallery, pictured in September
using a theremin to control said effects. The Fuzz Probe can be
used as a theremin, as it can through feedback oscillation 2024.[81]
create tones of any pitch.
The MC-505 by Roland by being able to use the integrated D-Beam-sensor like a theremin.
The Audiocubes by Percussa are light emitting smart blocks that have four sensors on each
side (optical theremin). The sensors measure the distance to your hands to control an effect or
sound.[84]
A three radio theremin (Super Theremin, スーパーテレミン) invented by Tomoya Yamamoto
(山本智矢), composed of three independent radio sets. Radio set #1 is to listen and to record
the signal at around 1600 kHz. Radio set #2 is tuned at 1145 kHz so that its local oscillator of
around 1600 kHz is to be received by radio set #1. Radio set #3 is also tuned at 1145 kHz so
that its local oscillator may produce the beat with radio set #2. The operator's hand movement
around the bar antenna of radio set #3 may affect the local oscillator to produce tonal
change.[85]
The Matryomin by Masami Takeuchi is a single-antenna theremin-type device mounted inside
a matryoshka doll.[86]
The Chimaera is a digital offspring of theremin and touchless ribbon controller and based on
distance sensing of permanent magnets. An array of linear Hall-effect sensors, each acting as

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an individual theremin in a changing magnetic field, responds to multiple moving neodymium

magnets worn on fingers and forms a continuous interaction space in two dimensions.[87]
Artefact #VII by Ini Archibong, is a theremin nested in a "pod-like sculpture" made of Japanese
Tsugaru Nuri lacquerware.[88][89][90]

See also
List of Russian inventions
Ring modulation

References
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Consortium" (http://folk.instruments.edu.pl/en/classification-).
2. The London Mercury Vol. XVII No. 99 1928
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Retrieved 2024-06-01.
4. Glinsky, Albert (2000). Theremin: Ether Music and Espionage (https://archive.org/details/there
minethermus00glin). Urbana, Illinois: University of Illinois Press. p. 26 (https://archive.org/detail
s/thereminethermus00glin/page/26). ISBN 978-0-252-02582-2.
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1).Accessed:05-20-2008.
11. Glinsky pp. 185–187, 329
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Archived (https://web.archive.org/web/20090918144710/http://www.mrqe.com/movies?q=Ther
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(http://uk.rottentomatoes.com/m/theremin_an_electronic_odyssey/) Archived (https://web.archi
ve.org/web/20071210033322/http://uk.rottentomatoes.com/m/theremin_an_electronic_odysse
y/) 2007-12-10 at the Wayback Machine
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midi-interface). OpenTheremin. Retrieved 4 August 2022.
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ProQuest 304003165 (https://www.proquest.com/docview/304003165).
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les/theremin/). channelroadamps.com.

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19. "RCA Theremin circuit diagram" (https://web.archive.org/web/20220417112911/http://www.pave

kmuseum.org/theremin/theop.html). Pavek Museum of Broadcasting. Archived from the original
(http://www.pavekmuseum.org/theremin/theop.html) on 2022-04-17.
20. "How is the Electro-Theremin different from the traditional theremin?" (http://www.electrothere
min.com/etfaq.htm).
21. Vennard, Martin (1929-03-12). "Leon Theremin: The man and the music machine" (https://ww
w.bbc.co.uk/news/magazine-17340257). BBC News. Retrieved 2012-03-13.
22. Moog, Bob (2002-10-26). "Theremin Vox – In Clara's Words" (http://www.thereminvox.com/artic
le/articleview/21/1/22/). Thereminvox.com. Retrieved 2012-03-13.
23. How to play a scale on the theremin | Carolina talks Theremin (https://www.youtube.com/watc
h?v=0n-o71RUrQw)
24. Kurstin, Pamelia (February 2002). "The untouchable music of the theremin" (https://www.ted.co
m/talks/pamelia_kurstin_the_untouchable_music_of_the_theremin). TED. Retrieved
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Publications
Brend, Mark (2005). Strange Sounds: Offbeat Instruments and Sonic Experiments in Pop
(1. ed.). San Francisco, Calif.: Backbeat. ISBN 9780879308551.
Eyck, Carolina (2006). The Art of Playing the Theremin. Berlin: SERVI Verlag. ISBN 978-3-
933757-08-1.
Glinsky, Albert (2000). Theremin: Ether Music and Espionage (https://archive.org/details/there
minethermus00glin). Urbana, Illinois: University of Illinois Press. ISBN 978-0-252-02582-2.
Pinch, T. J; Trocco, Frank (2009). Analog Days: The Invention and Impact of the Moog
Synthesizer (https://books.google.com/books?id=CoUs2SSvG4EC). Harvard University Press.
ISBN 978-0-674-04216-2.
Rockmore, Clara (1998). Method for Theremin. Edited by David Miller & Jeffrey McFarland-
Johnson. Made publicly available at Clara Rockmore Method for Theremin (http://www.electrot
heremin.com/claramethod.html) [pdf]

Film and video

Martin, Steven M. (Director) (1995). Theremin: An Electronic Odyssey (Film and DVD).
Orion/MGM.
Lydia Kavina, Clara Rockmore (featuring), William Olsen (Director) (1995). Mastering the
Theremin (http://moogmusic.com/products/merch/two-theremin-classics-dvd/) (Videotape
(VHS) and DVD). Moog Music and Little Big Films.

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4/27/25, 1:07 PM Theremin - Wikipedia

External links
Pamelia Kurstin on Ted.com (http://www.ted.com/talks/pamelia_kurstin_plays_the_theremin.ht
ml)
Theremin Times (http://www.theremintimes.ru/en)
ThereminVox.com (http://www.thereminvox.com/)
TECI (http://theremin.ca/): Theremin Enthusiasts Club International
theremin Theremin Family (https://web.archive.org/web/20130523065218/http://theremin.org.r
u/)
Theremin Argentina (http://www.thereminargentina.com.ar/)
Moriarty, Philip (2009). "The Theremin" (http://www.sixtysymbols.com/videos/theremin.htm).
Sixty Symbols. Brady Haran for the University of Nottingham.

Retrieved from "https://en.wikipedia.org/w/index.php?title=Theremin&oldid=1281220297"

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