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The DX7 was a hit because of the polyphony and touch sensitivity, but also because the presets - especially the synth basses and e-pianos - were so obviously musical and immediately useable.
But then you listen to the music Chowning was making, and you can already hear a lot of the tone quality. It's academic electronic music, so no bass and e-piano, but it's pretty impressive for 1977. So it's clear he was musical in his own way, but more not interested in using synths in pop than not interested in music at all.
If you were to modulate frequency, well first of all you'd have to define a reference point or you'd just get glitchy sound. In practice that means most FM implementations just have a highly oversampled single cycle of a sine wave in memory, and it's the speed at which the sample pointer consumes the looping sine that's set to correspond to some frequency, and then that value is modulated. In other words, phase modulation.
sin(phase + modulator * modulation index)
For a non-DC modulator without discontinuities it does result in an effective modulation of the frequency. You can think of phase modulation as a means to achieve frequency modulation with certain desirable properties that distinguish it from other methods.that matches
> it's the speed at which the sample pointer consumes the looping sine that's set to correspond to some frequency
The rest of your message doesn't make sense to me. Both phase and frequency can be modulated, perhaps most clearly seen with FSK vs. PSK.
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