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Rosenberg's Electric Violin
the culture of alternating current
Although George D Beauchamp made the first known electric violin in 1936 - the Vega played by Stuff Smith ; Johannes Rosenberg is credited with the invention of the electrical violin in 1949, while working on his Unified Relative Music Theory. His approach was radical. Instead of a musical instrument that was merely electronically amplified, Rosenberg considered the possibilities of actually generating AC current while playing the violin. Miniature electro-magnetic generators fitted with gearing systems, able to maximise the slip-hold-slip-hold action of the bow, were fitted to each metal string. The generators had a unique double function - electrical power supply and extreme amplification. History records that the results were musically very mixed (the performances were criticised for excessive tremolo) and often fatal to the participating musician. Particularly disturbing was the use of the G string in the 50-55 Herz range.

The rosenberg 2 string electric violin 1949 (a reconstruction)
So go ahead, be bold,
pluck a string or two


There was of course intense electrical rivalry between Edison and Westinghouse, using the electric chair to demonstrate superior technologies (whether AC or DC should be the viable form). Rosenberg saw the practical, as well as the strictly musical possibilities for a violin providing a reliable power supply, especially in the Australian outback. He also took his idea of a violin-powered radio up with Marconi but it was rejected out of hand (It is interesting to note that, due to the high cost of batteries, a clockwork powered radio is now available throughout many of the poorest countries in the third world). Elements of Rosenberg's innovation eventually found use in the millions of miles of efficient electric fences to be found on the fifth continent. The fences are still played today and provide stimulating entertainment for many Australians.

The original Rosenberg two string e-violin has been lost, but on this page the visitor will find an artist's impression of the legendary instrument - using samples from the 1949 disc recordings. We are grateful to Rainer Linz, the director of the Rosenberg Archive Melbourne, for his research into this gem of early electronic music. Members of the public are encouraged to apply their mouse to the exhibit's two strings.




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