"Her classical training gave her an advantage over the many theremin performers who lacked this background. She possessed absolute pitch, helpful in playing an instrument that generates tones of any pitch throughout its range, not just those defined by equal temperament. She had extremely precise, rapid control of her movements, important in playing an instrument that depends on the performer's motion and proximity rather than touch. She also had the advantage of working directly with Léon Theremin from the early days of the instrument's commercial development in the United States."
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