As urban life. The following six belong
As early as 1914 when the World War I broke out, the Italian futuristcomposer Luigi Russolo and FT Marinette, the writer who hadlaunched the "Futurism" movement in 1911, cooperated in Milan forthe first Futurist concerts, the program consists of "four noisesnetwork", the titles were as follows: 1. Awakening of a City; 2.Meeting of cars and aeroplanes; 3. Dining on the casino terrace, 4.
Skirmish in the oasis.1. https://youtu.
be/IC3KMbSkYNIOne of the major features of Futurism music is the massive use ofnoise in the works, the celebration of so-called mechanicalcivilization and the manifestation of urban life. The following six belong to the noise of futuristic symphony, 1 Roars,Thunderings, Explosions, Hissing roars, Bangs, Booms 2 Whistling,Hissing, Puffing 3 Whispers, Murmurs, Mumbling, Muttering, Gurgling4 Screeching, Creaking, Rustling, Humming, Crackling, Rubbing 5Noises obtained by beating on metals, woods, skins, stones, pottery,etc. 6 Voices of animals and people, Shouts, Screams, Shrieks,Wails, Hoots, Howls, Death rattles, Sobs The above list includes themost characteristic basic noise. Others are connections andcombinations of these noises. Luigi Russolo https://youtu.be/zBfmtb9SVLkAlexander Mosolov https://youtu.be/rq1-_UPwYSMLeo Ornstein https://youtu.
be/Z-XzRU_32Echttps://youtu.be/eb0yQCx5DbMArthur Lourié https://youtu.be/klWKLoZbI8Ehttps://youtu.be/u3xipjU3N7YFrancesco Balilla Pratella https://youtu.
be/-QdIHMrLWQ4George Antheil https://youtu.be/VMjW3DTId7Yhttps://youtu.be/J4on2sedCNgEach noise contains a dominant general pitch in its irregularoscillations, and the patterns sufficiently extends the pitch, semitone,and quartertone, so that it can be easily obtained by constructinginstruments that mimic the noise sound. This rich diversity of pitcheswill not deprive a single noise of its tone characteristics, but onlyincreases its range or epitaxial tone. Once the mechanical principleof constructing these noises has been mastered, their pitch can bechanged by applying the same acoustic principles that has alreadywidely accepted. For example, if the instrument contains a rotationmovement, it can be achieved by raising or lowering the speed. If theinstrument does not contain any rotation movement, you can takeadvantage of the difference in sizes or tightness of the vocal parts.
