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Elizabeth McGrath ndash; The Warburg Institute, University of E5-32le110d. James McPherson ndash; Princeton University. Klaus Meister ndash; Technische Universitauml;t, Berlin. Daniele Menozzi ndash; Scuola Normale Superiore, Pisa. Anna Meschini Pontani ndash; Universitagrave; di Padova. Paolo Mieli ndash; Direttore ldquo;Corriere della Serardquo;, Milano.

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At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments and these initial inventions were not sold, but were instead used in demonstrations and public performances. The audiences were presented with reproductions of existing music instead of new compositions for the instruments, while some were considered novelties and produced simple tones, the Telharmonium accurately synthesized the sound of orchestral instruments. It achieved viable public interest and made progress into streaming music through telephone networks. Critics of musical conventions at the time saw promise in these developments, ferruccio Busoni encouraged the composition of microtonal music allowed for by electronic instruments. He predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music, futurists such as Francesco Balilla Pratella and Luigi Russolo began composing music with acoustic noise to evoke the sound of machinery.

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