Hand drawn on film and made from cut paper
Listen to early Soviet synthesizer music
Via Dangerous Minds: "Sometime in the early 1920s the Bauhaus artist László Moholy-Nagy suggested that a new form of music writing could be created from the grooves in phonographic records. He believed experimenting with the groves would enable composers, musicians and artists to produce music without recording any instruments. Long before scratching, Moholy-Nagy also believed the phonograph could become an overall instrument… which supersedes all instruments used so far.
With the arrival of synchronized sound in movies, as seen and heard in the first talkie The Jazz Singer in 1927, Moholy-Nagy refined his idea believing a whole new world of abstract sound could be created from experimentation with the optical film sound track. He hoped such experimentation would enrich the sphere of our aural experience, by producing sounds that were entirely unknown.
In 1929, the Russians produced their first talkie, the snappily titled The Five Year Plan for Great Works. The possibility of synchronized sound inspired a trio of pioneers, composer Arseny Avraamov, animator Mikhail Tsihanovsky and engineer Evgeny Sholpo who were fascinated by the curved loops, arcs and waveforms on the optical soundtrack. The patterns made them wonder if synthetic music could be created by drawing directly onto the sound track. Of course, this they did, at first testing out vase-shapes and ellipses then Egyptian hieroglyphs—all with startling results.
In 1930, Avraamov produced (possibly) the first short film with a hand-drawn synthetic soundtrack. [...]
Elsewhere, Nikolai Voinov was developing the idea of cutting paper to create a synthetic soundtrack—a technique that used magnetic tape and an ultra-chromatic 48 tune microtonal system which was produced by drawing on the magnetic tape. Voinov produced very basic short animations using this technique such as Rachmaninov Prelude (1932) and The Dance of the Crow (1933)."
Thanks to Andrew Mottl!