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#1 kirjoitettu
16.05.2005 14:55
Ancient life was all silence. In the nineteenth century, with the invention of the machine, Noise was born. Today, Noise triumphs and reigns supreme over the sensibility of men. For many centuries life went by in silence, or at most in muted tones. The strongest noises which interrupted this silence were not intense or prolonged or varied. If we overlook such exceptional movements as earthquakes, hurricanes, storms, avalanches and waterfalls, nature is silent.
Amidst this dearth of noises, the first sounds that man drew from a pieced reed or streched string were regarded with amazement as new and marvelous things. Primitive races attributed sound to the gods; it was considered sacred and reserved for priests, who used it to enrich the mystery of their rites.
And so was born the concept of sound as a thing in itself, distinct and independent of life, and the result was music, a fantastic world superimposed on the real one, an inviolatable and sacred world. It is easy to understand how such a concept of music resulted inevitable in the hindering of its progress by comparison with the other arts. The Greeks themselves, with their musical theories calculated mathematically by Pythagoras and according to which only a few consonant intervals could be used, limited the field of music considerably, rendering harmony, of which they were unaware, impossible.
Conclusions:
[I] 1. Futurist musicians must continually enlarge and enrich the field of sounds. This corresponds to a need in our sensibility. We note, in fact, in the composers of genius, a tendency towards the most complicated dissonances. As these move further and further away from pure sound, they almost achieve noise-sound. This need and this tendency cannot be satisfied except by the adding and the substitution of noises for sounds.
2. Futurist musicians must substitute for the limited variety of tones posessed by orchestral instruments today the infinite variety of tones of noises, reproduced with appropriate mechanisms.
3. The musician’s sensibility, liberated from facile and traditional Rhythm, must find in noises the means of extension and renewal, given that every noise offers the union of the most diverse rhythms apart from the predominant one.
4. Since every noise contains a predominant general tone in its irregular vibrations it will be easy to obtain in the construction of instruments which imitate them a sufficiently extended variety of tones, semitones, and quarter-tones. This variety of tones will not remove the characteristic tone from each noise, but will amplify only its texture or extension.
5. The practical difficulties in constructing these instruments are not serious. Once the mechanical principle which produces the noise has been found, its tone can be changed by following the same general laws of acoustics. If the instrument is to have a rotating movement, for instance, we will increase or decrease the speed, whereas if it is to not have rotating movement the noise-producing parts will vary in size and tautness.
6. The new orchestra will achieve the most complex and novel aural emotions not by incorporating a succession of life-imitating noises but by manipulating fantastic juxtapositions of these varied tones and rhythms. Therefore an instrument will have to offer the possibility of tone changes and varying degrees of amplification.
7. The variety of noises is infinite. If today, when we have perhaps a thousand different machines, we can distinguish a thousand different noises, tomorrow, as new machines multiply, we will be able to distinguish ten, twenty, or thirty thousand different noises, not merely in a simply imitative way, but to combine them according to our imagination.
8. We therefore invite young musicians of talent to conduct a sustained observation of all noises, in order to understand the various rhythms of which they are composed, their principal and secondary tones. By comparing the various tones of noises with those of sounds, they will be convinced of the extent to which the former exceed the latter. This will afford not only an understanding, but also a taste and passion for noises. After being conquered by Futurist eyes our multiplied sensibilities will at last hear with Futurist ears. In this way the motors and machines of our industrial cities will one day be consciously attuned, so that every factory will be transformed into an intoxicating orchestra of noises.
[I]
- Luigi Russol, 1913
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