@alperenzl
Luigi Russolo, who published the "art of noise" manifesto in 1913, is the person who adapted the intellectual structure of futurism to the musical foot. Let's talk briefly about his ideas.
Traditional music was limiting, the musical temples of the Modern World should not be the opera houses of the bourgeoisie, but the factories and the roar of cannons and rifles. The sounds of the modern world had to be combined with music.
‘The old life was complete silence. In the nineteenth century, with the invention of the machine, Noise was born. Today Noise triumphs and reigns over people's sensibility.'
Nature was silent and man broke this silence by picking up a few reeds and making sounds from them, these 'noises' were considered sacred and attributed to the gods. Thus, in his own words, "a fantastic world superimposed on the real world, an inviolable and sacred world" was formed. However, the Greeks spoiled this "beauty of chaos" with their own mathematical calculations.
This limitation and imprisonment of noise lasted until mechanization, with the Industrial Revolution this began to deteriorate. people who migrated to the cities began to find the noise aesthetic. The roaring atmospheres of the cities had trained their ears for noise. However, existing instruments were still very restrictive and inhibitive, but what about ancient instruments that couldn't keep up with this Modern Age? They had to be torn apart!
Rossolo wanted to awaken the dormant concert halls, to bring them vitality and dynamism. They were anachronistic, and he asked the listener: Do you want to stay in these hospital-like concert halls full of anemia-stricken voices, do you want to listen to the pleading meows of a violin!
Old music was dead to him, and his solution to these shabby things that excluded dynamism, speed, and life was the same as other futurists: these traditions had to be completely destroyed. It should have been replaced by the voices of shutters, factories and war that made the voice of modern times heard from within human life itself.
‘Every manifestation of our life is accompanied by noise. Therefore, noise is familiar to our ears and has the power to evoke life itself. The sound, which is foreign to our lives, always musical and something in itself, an occasional but unnecessary element, has come to our ears as it is to a face foreign to our eyes. However, noise, which reaches us in a confused and disorderly way from the disorderly mess of our lives, never fully reveals itself to us and hides countless surprises. Therefore, we are confident that by selecting, coordinating and dominating all sounds, we will enrich people with a new and unexpected sensory pleasure.'
'Let us wander through a great modern capital, with our ears more alert than our eyes, and enjoy distinguishing the whirlpools of water, air, and gas in metal pipes, the grunt of voices that are breathing and pulsating with indisputable animality, the pounding of the heart. valves, pistons coming and going, the howling of mechanical saws, the jolting of a tram on its tracks, the crackling of whips, the flapping of curtains and flags. We delight in creating mental orchestrations of metal shop shutters falling, doors slamming, crowds roaring and shuffling, religious diversity, from stations, railroads, iron foundries, spinning wheels, printing houses, power stations, and underground railroads.'
