以利沙·格雷在展示“浴缸实验”（bathtub experiments）的结果：他利用波动的电流驱动银质金属板振动。其中，金属板固定在乐器琴体上。
1876年：以利沙•格雷（1835.8.2 – 1901.1.21，生于美国俄亥俄州巴恩斯维尔，卒于马萨诸塞州牛顿维尔）的电传琴（电谐声电报机）
如果以利沙·格雷（Elisha Gray）比亚历山大·格雷厄姆·贝尔（Alexander Graham Bell）早一个小时到达专利局，他就会成为今天人们所熟知的“电话之父”。但是，他却意外地在历史中留下足迹，成为了第一个电子乐器的发明人。格雷曾偶然见到他的侄子在摆弄他的器材——这个孩子把一块电池一端连接到自己身上，另一端则连到浴缸中；用手摩擦浴缸表面，浴缸会发出与电流成比例变化的声响——受此启发，他开始进行电子声学效应的研究。
格雷电传琴的专利（1876年）
格雷发现，通过控制自振电磁电路（self vibrating electromagnetic circuit）可以产生声音，依此，他发明了一种单音振荡器。他最初的想法是，利用自振电路来开发一种早期的电信（电报）传输系统——这一系统将电传信息编码为不同的音调，通过同一个线路，同时发送多个信息，这些信息最终在接收端进行解码。利用这一原理，格雷设计了一种乐器，也就是“电传琴”（Musical Telegraph），亦称“电谐声电报机”（Electro-Harmonic Telegraph）。这一乐器最初的发明目的，是为了演示、推广格雷德电信理念。
该发明的新颖之处在于，他使用一系列开关电路组成的琴键来控制、驱动一系列调好音的簧片、振动片振动，产生乐音或类似乐音的声响。另一个创新之处是，他使用了新的声音传输方式，即通过电路产生声音，在线路另一端进行回放重现。
——格雷：专利注记No. 173,618，1876年2月15日
格雷的这台乐器利用到了一些电子声学原理。在乐器上，一系列调好音的金属簧片受电磁电流驱动，产生的自振电流通过电话线传输，最终成为有调的“嗡嗡”声。格雷还制造了一个简单的接收、扬声器，名为“沃施巴森脸盆接收机”（Washbasin Receiver）——顾名思义，这个接收机是使用一个旧脸盆制造的、类似电话机的大型扬声器，其中，脸盆贴近磁铁的一极。金属脸盆收到外力驱动开始振动，整个接收机便能够重现、放大这台乐器的声音（实际上，在格雷所在的“前放大器”时代，这种方式几乎是唯一一种可以让乐器出声的手段）。
1847年的脸盆扬声器。该设备的设计初衷，是用来接收、放大音乐电传琴上发出的远端信号
由于电传琴的每个琴键都连接有一个“振荡器”，所以，音乐电传琴是一台名副其实的复音乐器。为了避免没有按下的琴键可能产生的共振，格雷使用了一种止音机械装置，来保证每个琴键都能发出纯净的声音。
格雷1876年的“电谐声电报机”专利中展示了金属齿（tine）和止音器装置，该装置可避免其他琴键的共振
格雷电谐声电报机专利，1876年
1874年12月29日，格雷在伊利诺伊斯州海蓝帕克市（Highland Park）的长老教堂（Presbyterian Church）第一次对公众展示了他的发明——电传音乐（transmitting musical tones）。根据一家报纸的报道，他“通过电报线”传输了“耳熟能详的旋律”——看起来，他很可能使用钢琴作为共鸣放大器。
“二音”（Two-Tone）发信器，1874年
格雷发明的第一台电传琴是一台简单的双“振荡器”乐器。但此后的电传琴上，使用了足够弹奏两个八度音阶的单音振荡器——格雷认为“很明显，琴键的数量应该增加”——再后来的电传琴上又加入了简单的简单的音轮控制功能（tone wheel control）。1874年，格雷带着这台乐器游历英国，并展示了电传音乐，将音乐传输到200多英里以外的地方。
格雷同时也开始在美国国内推广他的发现。1877年4月2日，他在位于纽约东14街（East 14th Street）的斯坦威音乐厅（Steinway Hall）进行了一场名为“电话电传音乐会”的表演——不过，这场表演并没有真的用到“电话”这种东西。演奏是在宾夕法尼亚西部联盟电报公司的办公室中“远程”进行的，由著名钢琴手弗里德里克·波斯科维兹（Frederick Boscovitz ）演奏一台16音型电传琴，这种演奏形式震惊了坐在纽约的观众们。斯坦威音乐厅的接收装置由16个木制共振腔管组成，每个腔管长度在6英寸（约15.24厘米——译注）到2英尺（约60厘米——译注）不等，连接在一个装有电磁铁的木条上，其中电磁铁用于信号接收。为了增强共振效果、美化这台电子乐器“嗡嗡”的音色，整个接收装置被安装到一台大钢琴上。据报道，这台乐器的声音十分与众不同，而其高音的声音“相当羸弱”，声音像是风琴的音色：
“（这台乐器）作为一个新奇的乐器作品，很能提起别人的精神。但除非是电传音乐有了什么革命性进步，不然，我们很难看到这种新式乐器的‘传输型’音乐有什么恒久的实用价值。”
——《国家共和党人》（National Republican，华盛顿D.C.）1877年4月10日，第一版
“电话电传音乐会”在首场举办后的一周里，又陆续进行了五次表演，其中三次在斯坦威音乐厅中进行，一场在布鲁克林音乐学院（Brooklyn Academy of Music），一场在华盛顿林肯纪念堂（Lincoln Hall）：
MUSIC BY TELEGRAPH.
__________
THE TELEPHONE EXHIBITION AT LINCOLN HALL.
________
Airs Played In Philadelphia Distinctly Audible In Washington–Description of the Apparatus–Its Sound and What It Resembles–The Performance a Great Success.
The atmospheric conditions last evening were far from favorable to the reception of music by telegraph, and it was not surprising, therefore, that the majority of those who went to Lincoln hall last evening to presence the latest triumph of American science–the telephone–were more or less doubtful of the success of the experiment they were about to witness. The interest manifested by our citizens in this grand and important invention could not have been attested in a more substantial manner, for the hall was filled to almost its amplest capacity by as intelligent and discriminating an audience as has gathered in that resort this season.
The preparation for the exhibition of the telephone were quite simple and were easily observable. Several wires depended from the aperture over the chandelier in the centre of the room, and communicated some with a regular telegraphic instrument on the stage to the left of the audience, others with the receiving apparatus of the telephone. The latter was placed on the floor of the stage, to the right of the audience. It is a small apparatus, about six feet long and less than two feet high, and consists of sixteen square boxes, resembling in appearance and arrangement the tubes of a large organ.
The entertainment began with the concert which Mr. Maurice Strakosch had provided, evidently to offset any disappointment that the audience might experience in the event of the inability of the telephone to surmount the obstacles of the inclement weather. The following was the programme:
Miss Fannie Kellogg is a young lady of prepossessing appearance, but evidently still a novice in the concert-room. Her rendition of the Polonaise from “Mignon,” which is an extremely difficult passage, requiring the greatest flexibility and control of voice, was not even a mediocre performance, although she took the liberty of omitting the trills and substituting a few notes of her own for those of the composer, and to cap the climax the finale of the air was sang entirely out of key as well as out of time. Indeed, it was as complete a faux pas as we have ever witnessed at a first-class concert. Miss Kellogg, nevertheless, found many admirers, for she was loudly encored, and in response to repeated calls essayed that sweet and plaintive air of Apt’s–Embarrassment–which she sang but indifferently well. To Signor Tagliapietra we cannot award too much praise. He was in exquisite voice, and his singing was perfection itself. Mr. S. Liebling’s performance on the piano was artistic and finished.
At the conclusion or the first part of the concert the piano was closed, and two young men raised the “receiving” apparatus of the telephone and placed it on the piano, after which a wire was adjusted to it, thus establishing direct communication with the “sending” instrument, in the office of the Western Union Telegraph Company in Philadelphia, presided over by Mr. F. Boscovitz. A telegraph operator next appeared and took up his position at the little table above referred to. Immediately afterwards a tall, spare gentleman with a beard came forward. This was Professor Gray, the inventor of the telephone. The Professor declared that he did not desire to exhibit the telephone as a great musical instrument, and if anybody expected to listen to grand music, he would inform them in advance that they would be disappointed. The Professor, although doubtless a genius in some respects, cannot be said to number oratory among his gifts. In a rambling, disconnected and ungrammatical speech, out or which it was impossible for the life of us to make head or tail, the Professor endeavored to explain in a scientific manner many things connected with the telephone. He was not permitted to continue the infliction very long, for the audience grew impatient, and manifested their feelings in a quiet way. The Professor was not slow to take the hint, and concluded his introductory remarks by requesting the greatest silence. He then directed the telegraph operator to inform Mr. Boscovitz at Philadelphia that everything was in readiness and he might begin. Within three or four seconds the first notes of “Home, Sweet Home” were distinctly audible in every part of the spacious ball, the melody being recognized perfectly.
We can best describe the music of the telephone as heard last night by comparing it to the sound that would be produced slowly on an organ with one finger. The higher notes were rather feeble. The utmost stillness prevailed, and at the finish the applause was long and enthusiastic. The remaining selections on the programme were played in the order given, all with the same success, as follows:
1. “Home, Sweet Home.”
2. “Come Genil.”–Don Pasquale.
3. “Then You’ll Remember Me”–(Bohemian Girl.)
4. “The Last Rose of Summer.”
5. “M’Appari,” Romance–(Martha.)
6. “The Carnival of Venice.”
At the conclusion of the exhibition the judgment of all present was highly flattering to what may yet be numbered among the greatest inventions of modern times.
——纽约时报，1874年7月10日
《国家共和党人》（National Republican，华盛顿D.C.）1877年4月10日，第一版
虽然格雷一直声称贝尔剽窃了他的电话发明，在经历了多年的诉讼后，贝尔最终还是在法律意义上成为电话的发明人。自此以后，格雷似乎也逐渐对探索音乐失去了兴趣。
单八度版的电传琴发信器，制造于1874年夏天
格雷德双八度版键盘发信器，今藏于美国史密森博物馆（Smithsonian Institute）
尽管如此，格雷的一些理念对其他发明者产生了深远的影响。撒迪厄斯•卡希尔在1879年设计电传簧风琴期间，受到了电传琴的影响；卡希尔在递交自己发明的专利是，带有偏见地抨击了格雷电传琴的众多缺陷，并借此突出自己的发明有多么先进、独特。根据卡希尔的说法，电传琴的缺陷包括低电量——这点会影响传输范围、音量——缺少整音（tone shaping）、表情控制功能，因此会导致乐器的声音不够动听。
卡希尔称，格雷德乐器是：
“几乎没什么用处。（它的声响）粗糙、劣质、坑坑洼洼而且没有表情变化；用这些声音构成的音乐，任何品位层次或是文化背景的人都不会从其中得到什么‘乐趣’。”
——卡希尔在1915年4月向专利委员会提交的专利申请中如是说，引自雷诺·威蒂纳（Reynold Weidenaar）《魔力音乐：电传簧风琴》（Magic Music from the Telharmonium）
格雷的乐器理念在后来由德国物理学家恩斯特·洛伦兹（Ernst Lorenz）在1885年得到发展，后者为格雷设计的这台乐器加入了试验性质的包络控制装置。贝尔也曾为电话线路语音传输设计过一台叫做“电子竖琴”（Electric Harp）的试验仪器，其原理与格雷的发明类似。
格雷在后来成立了今天西部电气公司（Western Electric Company）的母公司——西部电气制造公司（Western Electric Manufacturing Company）。他在公司成立两年后退休，继续进行独立研究发明工作，并在奥伯林大学（位于美国俄亥俄州奥伯林）执教。
格雷电传琴的专利
以利沙·格雷（Elisha Gray）：1835.8.2，美国俄亥俄州巴恩斯维尔（Barnesville）;1901.1.21，马萨诸塞州牛顿维尔（Newtonville）
生平信息：
以利沙·格雷，美国发明家，曾与亚历山大·格雷厄姆·贝尔争夺电话发明者的地位，于1835年8月2日生于俄亥俄州巴恩斯维尔（Barnesville），在农场里度过童年。上学期间，他由于父亲去世而不得不辍学，但他以做木匠活维持生计，完成了预科学校的学习并在奥伯林大学完成了两年的大学生涯。
大学期间，他对电学产生了兴趣，在1867年获得了改良型电报的专利。这以后，他共获得了70个专利，包括电传机（电报传真机，Telautograph，1888年）——一种远距离传输手写信息的电子设备。在1876年2月14日，格雷向美国专利局提交了一份预申请（为了声明尽快申请专利的声明），描述了一种“可以通过电传方式传递声音”的装置。格雷不知道的是，贝尔在他到来的两个小时前就申请了一项有着同样功能的专利。然而，之后的事实证明，格雷专利中描述的方法是可以工作的，而贝尔的那套方式却是不可行的。几年的诉讼之后，贝尔还是成为了法律意义上的电话发明者，但对于真正的发明者到底是谁，争议从未断过。
1872年，格雷成立了西部电气制造公司，即现在西部电气公司的母公司。两年后，他从公司退休，继续从事独立研究发明工作，并在奥伯林大学执教。1901年1月21日，格雷在马塞诸塞州的牛顿维尔去世。
参考资料：
Kenneth M. Swezey The Encyclopedia Americana — International Edition Vol. 13. Danbury, Connecticut: Grolier Incorporated, 1995. 211
‘Electronic and Experimental Music: Technology, Music, and Culture’ By Thom Holmes. 1985, 2002 Thom Holmes; 2008 Taylor & Francis. P6.
‘Electronic and Experimental Music: Pioneers in Technology and Composition’ By Thomas B Holmes. Routledge 2002 P42.
‘Magic Music from the Telharmonium’ Reynold Weidenaar. p19. Publisher Reynold Weidenaar, 1995. ISBN 0810826925, 9780810826922
Elisha Gray and the Telephone: On the Disadvantages of Being an Expert. David A. Hounshell Technology and Culture Vol. 16, No. 2 (Apr., 1975), pp. 133-161
“Music by Telegraph,” New York Times, April 3, 1877
“Telephone Concerts,” Steinway Hall Programme, April 2, 1877
“When Music Was Broadcast by Telephone,” New York Times, May 11, 1975, D17.
National Republican (Washington, D.C.), April 10, 1877, page 1:
电子乐器在中国：“电琴”的媒介景观 | 电子音乐120年
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