[pic. Clara Rockmore performing in 1932 (top left),Lydia Kavina performing in 1978 (top right), Terpsitone's diagram] The instrument had a metallic conductive platform where the dancer would move. Vertical movements would change pitch and volume is controlled by the distance from the back of the platform. More information here and here. For more deep knowledge related to the Terpsitone, the original Theremin and its variations and another experimental sound instruments from the early 20th century in Russia check the  book : Sound in Z - Experiments in Sound and Electronic Music by Andrei Smirnov. SEINE HOHLE FORM [2000]

"It is a fragment from the prose poem "Gesichter" by Rainer Maria Rilke, roughly translating to "its hollow form." As a starting point for this interactive work, it serves as an emblem for the interesting challenge of creating a musical work that only exists when a dancer moves. Using real-time synthesis and video tracking technology, the choreography is affected by the live generation of sound through sensors and computer systems, and the music is in turn shaped by these movements." Music & Interactive Programming: Butch Rovan, Video Tracking System: Frieder Weiss, Choreography: Robert Wechsler, Dance: Robert Wechsler / Laura Warren More info here. AUDFIT [2014] "AUDFIT is a dance costume that precisely reads the movement and position of the dancer's body using motion detectors and accelerometers designed by Krystian Klimowski. Data that is thus provided is converted in real time into sounds. The audience listens to the music created from the dancers movement through the headphones (Silent Disco headphones sets), with a choice of three CB radio channels, each expressing the sound in a completely different manner."

  "AUDFIT project the music is generated by the movement - even the tiniest move of the body releases a sound sequence and electronic tunes. The body of the dancer is mapped by 9 strategic points that orientate its position in space. In AUDFIT the movement creates the sound, which is integral with the action, dance becomes an instrument, a programmer of audio-visual perception formed in the skull of the recipient." By Strangeloop. Marta Romaszkan - dance/movement, Krystian Klimowski - physical computing, sensor programming, Patryk Lichota - conception and sound programming. OMINOUS [2014] "Similarly to a mime, I model malleable sonic matter produced by my body. By using the wearable biotech instrument “Xth Sense”, the bioacoustic sound of muscle contractions is amplified, digitally processed, and played back through eight loudspeakers and subwoofers. The natural sound of my muscles and its virtual counterpart blend together into an unstable sonic object."

"This oscillates between a state of high density and one of violent release. As the listeners imagine the object’s shape by following the gesture, the sonic stimuli induce a perceptual coupling. The listeners see through sound the sculpture which their sight cannot perceive." By Marco Donnarumma. More info here. EXPERIMENTS IN CHOREOGRAPHY AND 3D-SOUND [2013]