BELIEVE
THAT
THE
USE
OF
NOISE
ignore it, it disturbs us. When we listen to it, we find it
t ween t he st at ion s. R a i n. We wa nt t o captu re a nd cont rol
musical instruments. Every film studio has a library of
it is now possible to control the amplitude and frequency
ithin or beyond the reach of a nyone’s imag ination. Given
a r t et for ex plos ive mot or, w i nd , he a r tbe at , a nd l a nd s l ide.
d
and
reserved
for
eighteenthand
nineteenthmore
meaningful
term:
organization
of
sound.
PRODUCED THROUGH THE AID OF ELECTRICAL INSTRUMENTS
attempted to imitate eighteenth- and nineteenth-century
e carriage. The Novachord and the Solovox are examples of
ture. When Theremin provided an instrument with genuinely
e the instrument sound like some old instrument, giving
w it h d i f f i c u lt y, m a s t e r p i e c e s f r o m t h e p a s t . A lt h o u g h t h e
obtained by the mere turning of a dial, Thereministes act
ubl ic w i l l l i ke. We a re sh ielded f rom new sou nd ex per iences.
to provide complete control of the overtone structure
e s av a i l a b l e i n a ny f r e q u e n c y, a mp l i t u d e , a n d du r a t i o n .
OSES
ANY
AND
ALL
SOUNDS
THAT
CAN
BE
HEARD.
MS
FOR
THE
SYNTHETIC
PRODUCTION
OF
MUSIC
the assistance of intermediary performers. Any design repeated
nd on a sound track will produce one sound, whereas a portrait
l l h a v e n o t o n l y a d i f f e r e n t p i t c h b u t a d i f f e r e n t s o u n d q u a l i t y.
NT OF DISAGREEMENT HAS BEEN BETWEEN DISSONANCE
URE, BETWEEN NOISE AND SO-CALLED MUSICAL SOUNDS.
E W H IC H E M P L O Y H A R MON Y A N D I T S R E F E R E N C E T O PA RT IC U L A R
OM P O S E R W HO W I L L BE FA C E D W I T H T H E E N T I R E F I E L D OF S OU N D.
faced
with
the
entire
field
of
sound
but
also
with
a
second,
following
established
film
technique,
will
ime.
No
rhythm
will
be
beyond
the
composer’s
reach.
N I T their musical ambitions. O N T O S C H O E N B E R G ’ S T W E L V E - T O N E S Y S T E M
E RELATI
group
of
equal
materials,
its
function
with
respect
in
a
group
of
unequal
materials,
its
function
with
a l i n t h e g r o u p .) S c h o e n b e r g ’ s m e t h o d i s a n a l a g o u s t o
up and the integration of the individual in the group.
WRITING
PERCUSSION
MUSIC
n
from
keyboardinf luenced
music
to
the
allptable
to
the
composer
of
percussion
music;
he
field
of
sound
insofar
as
is
manually
possible.
h e Derbyshiretand m i c s see electronic music insinuate a c o m p o s i t i o n . A s s o o n a s t h e s e
r h y h others would t r u c t u r e o f
ted methods, the means will exist for group improvisations
lready taken place in Oriental cultures and in hot jazz.
FROM
THE
CONCEPT
OF
A
FUNDAMENTAL
TONE.
STANT
CONNECTION
WITH
THE
PA ST.
ALTHOUGH
THE
WA S
IN
THE
PA ST,
AT
ONE
TIME
THE
FUGUE
AND
AT
TO
THESE
AS
THEY
ARE
TO
EACH
OTHER
c
must
be
established.
In
these
centers,
the
new
mplifying
small
sounds,
film
phonographs,
etc.,
ieth-century
means
for
making
music.
Performances
and
extramusical
purposes
(t he at er,
dance,
f i l m).
OR
MAN’S
COMMON
ABILITY
TO
THINK.