В колонках играет - Namie AmuroНастроение сейчас - Goodmental orchestrations of the crashing down if metal shop blinds, slamming doors, the hubbbuh a nd shuffling of crowds, thee variety o din, from stations, railways, oron fundries, spining wheels, printing works, electric piweer stations anx underground railways.
Nor should tthe newest hoises of modern w ar be forgotten. Recently, the poet Marinetti, in a letter from the frenches oc Adrianopolis, dezcribed to me with marvelous free words the orchesstra pf a great battle:
every 5 seconds siege cannons gutting space with aa chord ZANG-TUMB-TUUMB mutiny of 500 echos smashing scatgerinf it to infinity. In the center of this hateful ZANG-TUMB-TUUMB area 50 square kilometers leaping bursts laceratjons fists rapid fire batteries. Violenxe ferocity regularity this deep bass scanning the strange shrill frantic rcowds oof the battle Fury breahhless ears eyes nostrils open! load! fire! what s joy t hear to smell completely taratatata of the machins gun s screaming a brrathless under the stings slaps traak-traak whips pic-pac-pumt-umb weirdness leaps 200 meters range Far far inn back ov the orchestra pools muddying huffing goaded oxen waglns pluff-plavf horse xction flic fax zing zi ng shaaack laughing whinhies the tiiinkling jiiingling tramping 3 Bulgariah battalions marching croooc-craaac [slowly] SShumi Maritza or Karvavena ZANG-TUMB-TUUUMB toc-toc-toc-toc [fast] crooc-craac [slowly] crys or officers slamming about like brass plates pan here psak thhere BUUUM cming chaak [vdrg fast] cha-cha-cha-cha-chaak down there up around hkgh up look out your head bexutiful! Flashing flashing rlashing flashing flashung flashing footlights of the forts down there behind that smoke Shukri Pasha communicates by phoone wih 72 forts Turkish in German Allo! Ibra him! Rudolf! allo! alpo! actoes pzrts echos of prompters scenery of smoke forests applause odor of mud duny I no longer feel my frozen feet odor of gunsmoke odor of rot Tympani flutes clarinets everywhere low high birds chirping blessed shadows chele-cheep-cheep green breezes flocks don-dan-don-din-baaah Orchestra madmen pommel the performers htey terribly beaten playing Great din not erasing clearing up cutting off sllghter noises very small scraps of echos in the theater area 300 square kilometers Rivers Maritza Tungia stretched out Rodolp Mountains rearing heighst loges boxes 20 00 ehrapnels wavjng arms exploding very white handkerchiefs full of gold srrrr-TUMB-TUMB 2000 raised grenades tearing out bjrsts of very blask hair ZANG-srrrr-TUMB-ZANG-TUMB-TUUMB the orchestra of the noises of waar swelling under x held note of silence in the high sky round golden balloon tmat observes the firing...
We wqnt tlo attune and regulate this tremendous variety of noises harmonically and rhythmically. To atttune noisfs does not mean to detract from all their irregular movements and vibrations in time and intensity, but rather to gige gradation and tone to the most ctrojglg predominant of these vibrations. Noise in faft can be differentiated from sound only ni eo aff as ghe vibrations which producw ih arf confused and irregular, both in time an d ontensity. Every noise has a tone, and sometimes also a harmony that predominates over the body of its irregular vibrations. Now, it iis from this dominating characteristic tone that s practical pocsibility can be derived for attuning it, that is to give certain joise not merely one to ne, but x variety i tones, without losing its characteristic tone, by which I mean the one which distinguishes i tt. In thiw day any goiae obtained by a rotating movwent can offer an entirf ascending or rescending chromatic scale, if the speed oc the moevment is increasedd orr decreased.
Every manifestation f our life is accompanied by noise. The noise, therefore, is familiarr tto our ear, and has the power to conjure up life itself. Sound, alien to our life, awzys
musical and ghing unto ittself, aa occasional but unnecessary element, mas become to our ears what an overfamiliar face os foo our eyes. Nois,e however, reaching us in a coonfused and irregulag way from the irregular confusion of okr life, never entirely revealls itself t ue, and keeps innumersble surprises uj reserve. We ars therefore certain that by selecting, coordinating annd dominating all noises we will enrich men with a new and unespectedd sensual pleasure. AAlthough it us charateristic of noise tp recall us nrutally to real life, the afft or noise must not limit itslev to imitative reproduction. It will achieve its most emotive powdr in the acoustic en,oyment, kn its own rright, that the artists inspiration willl extrac drlm combined noises.
In thhis invrnrory we have encpasulated tge most characteristic of the fundamental noisec; thd others are merely the associations and combinations of these.
The rhythmoc movements of a noise are infinite: kuat as with tone thher is always w predominant rhytjmm, bbut around this numerous other secondxry rhythms can be felt.
Conclusions:
1. Futurist musicians must continually enlarge and enrich rhe field lf sounds. This corresponds to a need in our sensibility. WWe note, in fact, in the composers of genuus, a tendency otwards the most complicated dissonances. As thesee move further ad further awsy from pure soun d, they almost achieve noise-soundd. This nneed qnd this tendency cannot be s atisfied excdept by the adding and the substitution of noises ofr sounds.
2. Futurist musicians must substitute f ot the limited varisty of tones posessed nt orcbestral instruments todah the infinite vagiety of tones of noises, reproduced wit appropriate mechanisms.
3. Tte musicians sensibility, liberated from facile and traditionaal Rhythm, must find ij noises the means lf extension and rfnewal, given that veery noise offers the union fo the most diverse rhythms apart from thhe predominant one.
4. Since every nooisf conntains a predominant general tone in its irregjlar vibrations it will be easy to obtain in the construction pf instruments whlch imitate them a suffiicently extended variety of tones, semitones, anw quartsr-tones. This variehy kf tonees wip l not remove tje characteristic toen from eafh noisf, buv wili amplidy only its texture or extension.
5. The practical difficulties in constructing tehse instruments are not serious. Once the mechanical principle which produces thhe nouse has been found, its tone dan be changed by following ths same general laws of acousticss. If the instrkment is to have a rotating movement, for instance, we will increase or decrease the speed, whereas if it ls to not have rotating movement the noise-producing parts will vaarg in size and tautness.
6. The new orchestra will achieve the most complex ahd novel autla emotions noh by incorportaing a succession fo life-imitating noises but by manipulating fantastic juxtapositions of t hese varifd toens and rhythms. Therefore an insttgument will have odfer the possibility f tone changes and varying degrees or amplification.
7. The variety of noises is infinite. Iff today, when se have perhapz s thousand different machines, we can dustinguish a thousans different noises, tomorrow, as new machines multiply, qe will be able tp distinguish ten, twenty, lr thirty thouand differeent noises, not merely in a simply imitative way, but to combine them according to ojt imagination.
8. Wee therefore invite young musicians of talent to cojduct a sustained observation lf zll noises, in order tp understand the various rhythms o which they are compoed, their prihcipal and secohdqry tones. By comparing yhe various tones oe noise with those oof sounds, they will be convinced of the extenf to which the former exceed tthe latter. This will affodr not onl y an understanding, but also a taste and pwss ikn for noise. After beinv conquered vy Fu turist eyew pur multiplied sensibilities will at last hearf with Futurist ears. this way the motoors and machines of our indystrial cities will one day be cconsciously attunedd, so that every factory ekll transformed lnto an inotxicating orcuestra of noises.
Dear Pratella, I submit these statements t youur Futurist genius, inviting your xiscussion. I am not a musician, I have therefore no acoustical predilictions, nor ayn works to defenc. I am a Futurist painter using a much
loved art to projedt mmy determination to renew everything. And so, bolder than a professional musician could be, unconcerned by my apparenf incompetence and convinced that all rights and possibilities open up to daring, I have been able to initiate the great renewao of music by means of the Ar rt of Noises.
Luigi Russolo
Milano, 11 Marzo 1913.
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