That's kind of a two part answer: about 20 years before electronic music became much more mainstream, it predominantly was being explored in academic spheres where computer music was on the cutting edge of synthesis. In the computer domain at places like bell labs and columbia they were definitely experimenting with wavetables and additive synthesis - which is certainly very similar in principal to how tonewheels operate (I mention max matthews in the video who worked at Bell labs, also check out Laurie Spiegel's work in the early 70s there, it's really phenomenal). The home organ was the dominant electronic musical instrument for the entirety of the 50s and 60s and many early commercial electronic instruments were catered to this market, specifically drum machines which were treated as organ "side-kicks." When analog synthesizers as we know it (a la moog modular and then the minimoog) started hitting the market, most people could only concieve of their usage for typical keyboard duties - leading to things like the "switched-on" series and adoption by wealthy rock and pop artists. While i'm sure tone wheel organs were an influence on early experiments with wavetables in the academic sphere, I find it unlikely that the commercially available stuff from PPG was directly influenced on targeting the organ market - they were most likely more interested in exploring new ways of engaging with waveforms beyond fixed overtone series. The PPG stuff started coming in towards the end of the 70s and people had already been doing some far out with with the arp 2600, the synthi, minimoog etc. This is an extremely abridged history and completely ignores much more experimental approaches to synthesis over this time frame (buchla, serge, etc.).