Futurist composers should use their creativity and innovation to "enlarge and enrich the field of sound" by approaching the "noise-sound."
Futurist musicians should strive to replicate the infinite timbres in noises.
Futurist musicians should free themselves from the traditional and seek to explore the diverse rhythms of noise.
The complex tonalities of noise can be achieved by creating instruments that replicate that complexity.
The creation of instruments that replicate noise should not be a difficult task, since the manipulation of pitch will be simple once the mechanical principles that create the noise have been recreated. Pitch can be manipulated through simples changes in speed or tension.
The new orchestra will not evoke new and novel emotions by imitating the noises of life, but by finding new and unique combinations of timbres and rhythms in noise, to find a way to fully express the rhythm and sound that stretches beyond normal un-inebriated comprehension.
The variety of noise is infinite, and as man creates new machines the number of noises he can differentiate between continues to grow.
Therefore, he invites all talented musicians to pay attention to noises and their complexity, and once they discover the broadness of noise's palette of timbres, they will develop a passion for noise. He predicts that our "multiplied sensibility, having been conquered by futurist eyes, will finally have some futurist ears, and . . . every workshop will become an intoxicating orchestra of noise."
Futurist musicians should strive to replicate the infinite timbres in noises.
Futurist musicians should free themselves from the traditional and seek to explore the diverse rhythms of noise.
The complex tonalities of noise can be achieved by creating instruments that replicate that complexity.
The creation of instruments that replicate noise should not be a difficult task, since the manipulation of pitch will be simple once the mechanical principles that create the noise have been recreated. Pitch can be manipulated through simples changes in speed or tension.
The new orchestra will not evoke new and novel emotions by imitating the noises of life, but by finding new and unique combinations of timbres and rhythms in noise, to find a way to fully express the rhythm and sound that stretches beyond normal un-inebriated comprehension.
The variety of noise is infinite, and as man creates new machines the number of noises he can differentiate between continues to grow.
Therefore, he invites all talented musicians to pay attention to noises and their complexity, and once they discover the broadness of noise's palette of timbres, they will develop a passion for noise. He predicts that our "multiplied sensibility, having been conquered by futurist eyes, will finally have some futurist ears, and . . . every workshop will become an intoxicating orchestra of noise."
